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1
Patterson, Annabel. "The Egalitarian Giant: Representations of Justice in History/Literature." Journal of British Studies 31, no. 2 (April 1992): 97–132. http://dx.doi.org/10.1086/386000.
Повний текст джерелаАнотація:
In Franz Kafka's The Trial, a horrifying fable of human alienation from human institutions, there is a central encounter between Kafka's persona K. and the painter Titorelli, whose task is to reproduce endlessly the icons of the judicial system—arbitrary, logically absurd, yet cruel and inescapable—of which K. has become the latest victim. Approaching a painting in progress, K. recognized its subject as a judge, but could not identify a large figure rising in the middle of the picture from the high back of the judicial seat:“It is Justice,” said the painter at last. “Now I can recognize it,” said K. “There's the bandage over the eyes, and here are the scales. But aren't there wings on the figure's heels, and isn't it flying?” “Yes,” said the painter, “my instructions were to paint it like that; actually it is Justice and the goddess of Victory in one.” “Not a very good combination, surely,” said K., smiling. “Justice must stand quite still, or else the scales will waver and a just verdict will become impossible.” “I had to follow my client's instructions,” said the painter. “Of course,” said K., who had not wished to give any offense by his remark. “You have painted the figure as it actually stands above the high seat.” “No,” said the painter, “I have neither seen the figure nor the high seat, that is all invention, but I am told what to paint and I paint it.”
2
Seeberg, Stefanie. "Neupräsentationen und Umdeutungen des Heiligen Kreuzes von Polling vom 13. bis zum 18. Jahrhundert." Zeitschrift für Kunstgeschichte 80, no. 2 (December 30, 2017): 292–309. http://dx.doi.org/10.1515/zkg-2017-0015.
Повний текст джерелаАнотація:
Abstract The center of the baroque altarpiece of the Augustinian Monastery of Polling in South Germany forms the so-called Holy Cross. Its current presentation, dated from 1763, is the last of a sequence of four well-documented presentations of a Romanesque wooden cross since 1230. This cross is an excellent example for analyzing and comparing several methods of re-presenting a historic art object as well as for understanding the motivation for such re-presentations, which are grounded on changes of the spiritual function of the object. In its first reframing, the cross received a covering of gilded parchment and a painting of the crucifix on this ground coat. In a fundamental publication from 1994, this covering was compared with a reliquary holding the old venerated wooden cross. However, looking at the context of medieval instructions for painters and the material evidence of extant contemporary paintings, this interpretation becomes questionable: the covering with parchment was a common and technically motivated procedure rather than a spiritually motivated one.
3
Dyachenko, S. I. "ANTIQUE TOPOS IN A STORY “AN ARTIST” BY TARAS SHEVCHENKO." Shevchenko Studies, no. 1(23) (2020): 97–112. http://dx.doi.org/10.17721/2410-4094.2020.1(23).97-112.
Повний текст джерелаАнотація:
The article analyzes the use of individual names, images and concepts from the great ancient heritage in the story "The Artist" by Taras Shevchenko. The tale selected for the study, as well as other prose works of the writer, testified a thorough knowledge of their author in the history of Greek and ancient Roman culture and literature, skillful use of certain plots, characters from ancient times to characterize individuals, their personal qualities, or when the master as a highly educated art historian has told readers about fine art works by world-class artists or in other similar situations. Following the wise instructions of many of his friends, particularly the outstanding classicist painter, brilliant master of ceremonial portrait K. Bryullov, T. Shevchenko thoroughly researched the works of ancient historians, philosophers and poets, studied European languages, and in most cases he used topics from Bible, ancient Greek and Roman history for his paintings and art works. The ancient topos of the Ukrainian artist were formed first in painting, and later or in parallel - in words that accompanied throughout his creative career. Realizing ancient and life phenomenon, the writer has reproduced them through the prism of his own artistic vision; it is especially masterful in the tale genre. T.Shevchenko lived the inner life of his characters, worked out and applied a whole range of feelings and experiences, through which he resorted to demonstration of new and more significant means of artistic expression. In the story "The Artist" the author employed a lot of antique images that are connected with the direct artistic function of the story of the fate of a young artist, who in a short period of life turned from an apprentice "in a shabby greasy robe" into a trendsetter. The writer depicted the young author of paintings practically from the time of his redemption from serfdom until the last days of his life. In this tale the young artist overcame various difficulties, sufferings, found the strength and cleverness to develop creativity, at the same time he expressed respect and obedience to friends, teachers, mentors. The writer was leading his young artist through a number of different situations and simultaneously was presenting the great cultural importance of the ancient world. In his story "The Artist" T. Shevchenko revealed the fascinating and unique world of Hellenic antiquity, presented to the reader a great number of the ideals that he professed.
4
Brain, A. I. J. "The last resort - follow the instructions!" Anaesthesia 54, no. 11 (November 1999): 1116. http://dx.doi.org/10.1046/j.1365-2044.1999.01179.x.
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Nelson, Robert S. "A Byzantine Painter in Trecento Genoa: The Last Judgment at S. Lorenzo." Art Bulletin 67, no. 4 (December 1985): 548. http://dx.doi.org/10.2307/3050844.
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Kitts, Margo. "The Last Night: Ritualized Violence and the Last Instructions of 9/11." Journal of Religion 90, no. 3 (July 2010): 283–312. http://dx.doi.org/10.1086/651708.
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Wulandari, Anak Agung Ayu. "Membaca Simbol pada Lukisan Pertempuran Antara Sultan Agung dan Jan Pieterszoon Coen (1974) Karya S. Sudjojono." Humaniora 6, no. 2 (April 30, 2015): 249. http://dx.doi.org/10.21512/humaniora.v6i2.3337.
Повний текст джерелаАнотація:
Sudjojono has produced hundreds of artworks, one of them is the painting of “The Battle between Sultan Agung and Jan Pieterszoon Coen”. Sizing 3 x 10 m, not only this painting is significant in size, it also shows Sudjojono’s in-depth study from aesthetic and historical side. The painting consists of 3 panels depicting Sultan Agung’s meeting with his royals, the battle scene between Mataram and Dutch troops, and the last panel depicting the meeting between JP Coen and Kyai Rangga. Some of the message conveyed by the painter is that the painting was 70% made of historical facts and did not come from the painter imagination only, better to be in peace than war and revenge and the last message is that western and eastern people are actually equal, and as eastern people should not need to have low self-esteem. Besides those messages there are still many symbols and signs that have in-depth meaning which will be studied and examined thoroughly such as figures involved in the battle, location of battle, clothing, etc.
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Ayala, Walmir. "Lúcio pintor." Revista do Centro de Estudos Portugueses 28, no. 39 (June 30, 2008): 173. http://dx.doi.org/10.17851/2359-0076.28.39.173-174.
Повний текст джерелаАнотація:
<p>Este texto trata do Lúcio Cardoso pintor, trabalho a que o escritor se dedicou nos últimos seis anos de vida.</p> <p>This text treats of the Lúcio Cardoso painter, work what the writer devoted himself in the last six years of life.</p><p> </p>
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Kant, Marion. "Oscar Schlemmer's Triadic Ballet (Paris, 1932) and Dance Discourse in Germany. Three Letters with Annotation and a Commentary." Dance Research 33, no. 1 (May 2015): 16–30. http://dx.doi.org/10.3366/drs.2015.0121.
Повний текст джерелаАнотація:
Three letters, exchanged in 1932 between the critic Artur Michel and the painter and choreographer Oskar Schlemmer, illuminate the complicated relationship between modern dance advocates in general and attitudes to the Triadic Ballet in particular in the last years of the Weimar Republic. They inform us of the way in which the representatives of different dance aesthetics dealt with their opposing views.
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Kubies, Grzegorz. "Lust and music in The Seven Deadly Sins and the Four Last Things at the Museo Nacional del Prado in Madrid." De Arte. Revista de Historia del Arte, no. 21 (December 12, 2022): 9–28. http://dx.doi.org/10.18002/da.i21.7044.
Повний текст джерелаАнотація:
There are three research goals set forth in this article. The first is to show the connection of lust with music in the Prado panel, within the context of representations of the personification of impure love in Bosch's undisputed works (the Wayfarer Triptych, the Haywain Triptych). The second research objective is an attempt to indicate the basic sources of inspiration for the painter. The article closes with the interpretation of musical elements in the scene of lust. The presence of common elements (among others: suitors/ lovers, a jester, musical instruments, wine and fruit) in the analysed works proves the existence of a coherent artistic system in the Bosch workshop based on a mental-ideological foundation. Of the iconographic sources of inspiration for the painter that we have considered the most important are representations of Garden of Love and Children of Venus. In the scene of lust the figure that plays a leading role is the jester. He is not only interpreted as a musician but also as the embodiment of socially undesirable behavior.
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Maneshi, A., H. Gangatharan, M. Cormier, and S. Gosselin. "P061: Barriers to distributing discharge materials in the emergency department." CJEM 22, S1 (May 2020): S86. http://dx.doi.org/10.1017/cem.2020.267.
Повний текст джерелаАнотація:
Introduction: An efficient discharging process provides an opportunity for the patient to receive information about their diagnosis, prognosis, treatments, follow-up plan and reasons to return. Even when given complete discharge instructions, studies demonstrate that patients have poor retention of the information due to misunderstandings, language barriers, or poor health literacy. This study sought to identify barriers encountered by healthcare workers in providing discharge handouts to emergency department patients. Methods: A bilingual online survey of fifteen questions was shared with Quebec ED staff physicians and residents at the annual conference, and by email correspondence through the Quebec Emergency Medicine Association (AMUQ - L'Association des médecins d'urgence du Québec). Results: There was a total of 126 responses (96 physicians and 30 residents), with a response rate of 22.7% (126/556) and a completion rate of 84.1%. 85.8% (n = 120) responded that they were aware of discharge instructions available in their ED. Most common discharge handouts were concussion/traumatic brain injury and laceration repair. 58.3% of respondents (n = 120) reported having handed out discharge instructions in the last week, 22.5% in the last month, 10.8% within the last 6 months and 5.8% had not given out discharge instructions in the last 6 months. Respondents indicated that the most common barriers to giving out discharge instructions were their difficulty to access and and the time required. 58% of respondents (n = 65) reported handing out discharge handouts less than 50% of the time for conditions that had a discharge handout available at their hospital. Participants reported they would be more likely to give out discharge instructions if they were easier to print and if there was an automatic prompt from the EMR associated with the diagnosis. When asked to rank based on importance (1 = not important to 10 = very important), the majority of respondents thought discharge instructions were very important for patient comprehension, return to ED instructions and managing expectations of the illness (Median 8, Likert scale 1-10, DI 0.29, n = 119). Conclusion: Despite physicians and residents working in the ED believing discharge instructions are important for patient care, handouts are seldom given to patients. The lack of easy availability such as documents automatically available with the prompt of an electronic medical record would likely increase their distribution.
12
Seeberg, Axel. "Epoiesen, egrapsen, and the organization of the vase trade." Journal of Hellenic Studies 114 (November 1994): 162–64. http://dx.doi.org/10.2307/632741.
Повний текст джерелаАнотація:
The obverse scene of the krater Oxford 526 by the Komaris Painter (Plate VI c) was the subject of J.D. Beazley's first contribution to this journal, an exemplary account from which the relevant passage deserves to be quoted:The space on A is divided by a pillar. To the left of the pillar is the painter's room. A young man dressed in an exomis and seated on a stool is painting the background of a large bell-krater of the same shape as our vase. His left arm is inside the krater, the rim resting on his thigh, and he is applying a large brush to the lower part. At his side is a stand, supporting the skyphos-shaped vase which contains the black paint. In front of the painter a fellow-workman moves to the right carrying a second krater by both handles. He has lifted it from the ground beside the painter and is carrying it out to put it down beside a third krater which stands on the ground at the extreme right of the picture. Presently the batch will go to the furnace. Beyond the pillar is another workman who moves to the right in the same attitude as the last. In his raised right hand he holds a skyphos by the foot. Perhaps he is taking it to join a batch of vases of the same shape, but more probably he has been sent by the busy painter to fetch more paint … A pleasant rhythm is thus imparted to the scene; the first figure is occupied with both vase and paint; the second with vase; and the third with paint.
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Alddin, Assist Prof Dr Israa Amer Shams. "Refusal Phylosoph , Semantics Dimensions in Fawzi Karim Poetry." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 1–12. http://dx.doi.org/10.36473/ujhss.v221i1.422.
Повний текст джерелаАнотація:
The research Title is (Refusal Phylosoph , Semantics Dimensions in Fawzi Karim Poetry ). He is an Iraqi Poet, Writer & Painter at Sixteenth decade. He left to London at seventeenth Last Century & Stayed there.He Published his Poetry in two Parts from Dar Al-Mada . I Prefered to Study his poetry semantically to refuse the philosophy of motherland & alienation effects. Because of combination of negative pattern with speech vocabulary.
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Hagendijk, Thijs. "Unpacking Recipes and Communicating Experience: The Ervarenissen of Simon Eikelenberg (1663-1738) and the Art of Painting." Early Science and Medicine 24, no. 3 (September 5, 2019): 248–82. http://dx.doi.org/10.1163/15733823-00243p02.
Повний текст джерелаАнотація:
Abstract This article argues that in the early modern period, epistemic genres were transformed to suit new purposes. Modelled on the experimental essay form used by proponents of the New Sciences, the Dutch polymath and painter Simon Eikelenberg (1663-1738) wrote down ervarenissen to document how painting materials such as varnishes were prepared. Recipes have been identified as the ubiquitous vehicles for written know-how in the early modern period, yet authors continuously searched for new ways to unpack the ineffable dimensions of know-how in text. This article explores the ervarenissen as an alternative communicative strategy. Eikelenberg appropriated the experimental essay to create expressive instructions. He emphasized the specificity and idiosyncrasy of an act of making, tried to establish a sympathetic relationship with his readers, and showed how vulnerability, failure and improvisation belong to the workshop.
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Ferraresi, Roberto, Giacomo Clerici, Andrea Casini, Alessandro Ucci, Maurizio Santi Caminiti, Daniela Minnella, and Robert G. Frykberg. "Foot Angiosomes: Instructions for Use." International Journal of Lower Extremity Wounds 19, no. 4 (September 11, 2020): 293–304. http://dx.doi.org/10.1177/1534734620954745.
Повний текст джерелаАнотація:
In the last 15 years an abundance of literature has demonstrated that angiosome-targeted revascularization, either endovascular or open, can lead to better clinical results in patients with chronic limb-threatening ischemia. According to this literature, the angiosome concept should guide our treatment strategy in every chronic limb-threatening ischemia patient. However, in our daily practice, its application is often difficult or impossible. Most foot wounds spread over multiple angiosomes and, moreover, the value of an angiosome-guided revascularization approach can vary according to vascular anatomy, collateral vessel network, type of revascularization, and wound. The aim of this article is to explore values and limits of the angiosome concept, and to propose some “instructions for use” regarding its application in our daily practice.
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ZANIERI, STEFANIA. "UN GIOCO OTTICO DI LUDOVICO BUTI AL MUSEO DI STORIA DELLA SCIENZA DI FIRENZE." Nuncius 15, no. 2 (2000): 665–70. http://dx.doi.org/10.1163/182539100x00083.
Повний текст джерелаАнотація:
Abstracttitle SUMMARY /title Records in the Medici archives report a payment for an optical game made by the painter Ludovico Buti in February 1593. The detailed description of the scientific tool corresponds exactly to the optical game from the Medicean collection that is currently conserved in the Museum of History of Science in Florence. This game was initially attributed to Jean Franois Niceron. This attribution is disproved by the fact that Buti's death took place two years before Niceron's birth. The tool allows one to see the Portraits of the Duke of Lorraine and his daughter Christine at the same time, thanks to a mirror and 37 prismatic bars where the two faces are painted. Ludovico Buti made the tool for Grand Duke Ferdinando I de' Medici, probably following the instructions provided by the cartographer and monk Egnazio Danti in his commentary on Vignola's work.
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Stankiewicz, Aleksander. "Kilka uwag na temat twórczości Krzysztofa Boguszewskiego." Artifex Novus, no. 3 (October 1, 2019): 20–33. http://dx.doi.org/10.21697/an.7061.
Повний текст джерелаАнотація:
SUMMARY
The article deals with the artistic activity of Krzysztof Aleksander Boguszewski (d. 1635), nobleman, spiritual and painter, active in Poznań in years 1624–1635. In the past, scholars tried to do all they could to expand his oeuvre by resorting to imprecise comparisons or overinterpretation of his works. Also, they wanted to found style of his paintings in works of Herman Han. In the light of documents, it is sure that Boguszewski was not the imitator or even pupil of Han. He probably learned to paint in confraternity of painters in Lublin or Lwów. In fact, we can only proof his signature in one existing work – The entry of St. Martin into Amiens from 1628, originally from Cistercian church in Paradyż, but today exposed in Poznań cathedral. Other paintings from Paradyż Abbey, like The Heavenly Jerusalem (1628?), The Immaculate Conception (1628?) and St. Paul (1628?) and effigies of St. Mary from church in Otorów and Biechów (1632) we can include in the works of Boguszewski using the compare method. The other painting attributed by scholars to artist are fundamentally different. The iconography of his works from Paradyż were projected by the Cistercian abbot, Marek Łętowski (d. 1629). His conception for Boguszewski works was based on the instructions of Church intellectualist, like Carlo Borromeo or Gabriele Paleotti. It is very probably, that the painter, who became a priest in parish church of St. Adalbert in Poznań in 1630, was personally involved in the idea of artists working for the reform of the Church after the council of Trent.
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Benincampi, Iacopo. "Uno studio d’architettura civile locale. Giuseppe Boschi e le «vere regole delle proporzioni armoniche»." Diciottesimo Secolo 6 (November 9, 2021): 111–19. http://dx.doi.org/10.36253/ds-12281.
Повний текст джерелаАнотація:
During the 18th century, small papal towns provided few public educational opportunities in the artistic field. Young painters and architects usually joined local private workshops, attending lectures given by professionals who had instead completed their education in Rome or in Bologna. One of these professionals was the Faenza painter and architect Giuseppe Boschi (1732-1802), who produced a series of manuscripts reflecting both the local taste and the general cultural situation of the Romagna region in the last years of the ancien régime.
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Robinson, Kara, Melanie McMahon, and Stephanie Campbell. "594 Improving the Accuracy of Discharge Wound Care Instructions in a Teaching Facility." Journal of Burn Care & Research 41, Supplement_1 (March 2020): S140. http://dx.doi.org/10.1093/jbcr/iraa024.220.
Повний текст джерелаАнотація:
Abstract Introduction Clinic staff at a regional verified burn center reported a trend of patients coming in for follow up appointments confused about home wound care due to written discharge instructions that did not match what they were taught in their last inpatient wound care session. Examples of inaccurate instructions included referring to topicals the patient was not currently using or failing to address the care of all wound types present. The reported cases were reviewed by nursing and physician leadership through the burn center quality improvement process. Methods A retrospective chart review of all patients discharged with open wounds was completed for the previous 5-month period to establish a baseline rate of inaccurate instructions. Discharge instructions were counted as inconsistent if they did not match the wound types, dressings, and topicals charted in the patient’s last inpatient wound care. Contributing factors identified included that the instructions were most often free texted by rotating surgical residents. It was decided that pre-written choices might improve the accuracy of the instructions. A wound care discharge template was developed through a collaboration with the hospital clinical informatics department. The design included drop down choices for dressings, topicals, and body parts. Standard phrases within each selection were written by an experienced burn service provider. Discharge education was added to the monthly in-service for resident physicians. A large sign with instructions for the template was placed in the physician workroom along with cards posted to the top of each computer. Audits comparing the discharge instructions to the last wound care note then continued for a 4-month period. Results The retrospective chart review revealed an average of 28% of discharge instructions were incorrect or incomplete each month, with a range of 25–32.7%. In the 4-month period after the template was released, the monthly average dropped to 12.85%, with a range of 7.7–17.9%. It was also noted that inaccurate instructions in the post-template audits typically only had a small error compared to the more complicated errors noted prior to the template implementation. Conclusions The incidence of incorrect wound care discharge instructions written by burn team providers decreased with the introduction of a discharge wound care template. More analysis is needed to identify additional opportunities to further decrease the rate of inconsistencies. Applicability of Research to Practice Thorough and accurate wound care instructions with standardized language may improve the patient’s confidence with performing wound care at home and improve their post-discharge experience. Consistent wound care instructions also help to ensure that the wounds are cleaned and dressed with the appropriate topicals and dressings, potentially decreasing the risk of infection and graft loss.
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MOHR, BARBARA A. R. "THE PRUSSIAN GEOSCIENTIST, ENGINEER AND PAINTER AUGUST VON HEYDEN (1827–1897): AN ARTISTIC CHRONICLER OF THE WORLD OF MINING DURING THE MID-NINETEENTH CENTURY." Earth Sciences History 37, no. 2 (January 1, 2018): 403–15. http://dx.doi.org/10.17704/1944-6178-37.2.403.
Повний текст джерелаАнотація:
August von Heyden's (1827–1897) life was exceptional in several ways. His first career as a geologist and mining engineer gave him inspirations for his second career as a painter. Partly he found the themes for his oeuvre in his immediate surrounding, namely in- and outside of mines, which made him a chronicler of mining activities for his times. The work of this Prussian painter was highly appreciated during the last third of the nineteenth century, also known as the Wilhelminian era. Today his book illustrations, paintings and frescos are usually seen as those of an artist of late romanticism and realism based on some of the mythological scenes and the ‘glory of the Middle Age’ which he depicted on canvas. His paintings have received little attention from art historians, even though he might be considered to have been the forerunner of several different styles that were in vogue during the first third of the twentieth century. Nevertheless, his unusual abilities to catch moments of everyday life in his drawings are very refreshing.
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Annett, Judith M., and Alan W. Lorimer. "Primacy and Recency in Recognition of Odours and Recall of Odour Names." Perceptual and Motor Skills 81, no. 3 (December 1995): 787–94. http://dx.doi.org/10.2466/pms.1995.81.3.787.
Повний текст джерелаАнотація:
This study examined the serial position curve for recognition of odours and recall of odour names, both with and without instructions for verbal elaboration. Participants were allocated to one of two experimental conditions, either with instructions to rehearse verbally the stimuli or with no elaboration instructions. After presentation of 17 odours, either recognition or free recall of the odours was tested immediately after presentation of the last target odour. Recognition showed evidence of primacy for the verbal elaboration condition and recency for both instruction conditions. Recall of odour names showed evidence of primacy for the verbal elaboration conditions and recency for both conditions. Instructions to verbalize did not significantly affect over-all performance for either test condition.
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Jungová, Gabriela. "Gottfried Lindauer and the Náprstek Museum: Ethnographic Collection." Annals of the Náprstek Museum 40, no. 1 (2019): 25–42. http://dx.doi.org/10.2478/anpm-2019-0003.
Повний текст джерелаАнотація:
Gottfried Lindauer was a Bohemian painter residing and working in Aotearoa New Zealand. His paintings capturing the native people and their life earned him praise and respect from the Māori and Pākehā alike, as well as international recognition within and outside the artistic community. The Náprstek Museum in Prague owns two of his paintings, a small collection of Maori objects, photographs and letters to Ms Josefa Náprstková. This set of resources offers a comprehensive view on the artist’s collection practices, his creative process, and last but not least his relation to the Náprstek family.
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Rogers, Hiluard G., and F. William Brown. "The Impact of Writing Style on Compliance with Instructions." Journal of Technical Writing and Communication 23, no. 1 (January 1993): 53–71. http://dx.doi.org/10.2190/h7ck-pv15-ma32-thl1.
Повний текст джерелаАнотація:
Advice for writers of business communication implies that certain stylistic conventions will contribute to the effectiveness of that communication. The case for improved readability and comprehension which arose from high-impact style is well made; however, a comprehensive review of the literature reveals little consideration as to the impact of the effect of writing style on behavior. To test the effect of writing style on compliance with instructions, the authors operationalized effectiveness as compliance with written instructions and conducted a field test involving 129 military officers. Instructions inviting subjects to obtain certain study materials were prepared in accordance with high-impact, low-impact, and high-impact with bottom line last prescriptions, and were provided to each of three randomly formed groups. Subjects in the group who received high-impact instructions complied with those instructions at a significantly higher rate than the group which received instructions in the low-impact style. Compliance data collected in the study also indicates that high-impact style elicits more timely compliance with instructions and that bottom-line first instructions may be more effective than other styles. The study generally validates the presumption that high-impact writing style is positively correlated with effectiveness in eliciting a desired behavioral response.
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Llombart, Vicent. "Perspectivas económicas de Goya." Studies of Applied Economics 32, no. 1 (March 3, 2020): 111. http://dx.doi.org/10.25115/eea.v32i1.3203.
Повний текст джерелаАнотація:
The purpose of this paper is a first approximation to the economic aspects of painting and engraving by Francisco de Goya, penetrating in its meaning, its relationship with the reality of their time and their possible correspondence with economic ideas of the Spanish Enlightenment. A selection of the most outstanding works on agriculture, industry and trade and other aspects such as the portraits of economists and monetary income of the painter is done, and the difficulties are discussed in strictly economic ideas and integrate the complex artistic process. Last, we see the difficulties in integrating the economic ideas and the complex artistic process.
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Zalewska, Karolina. "The Retable of the Main Altar from the Parish Church of Saint John the Baptist in Łekno (German: Bast), Dating from 1588." Ikonotheka 27 (July 10, 2018): 187–209. http://dx.doi.org/10.5604/01.3001.0012.2333.
Повний текст джерелаАнотація:
The triptych from Łekno was painted in 1588 and commissioned by one of the five sons of Duke Philip I of Wolgast of the Griffin dynasty. The painter, who signed the work with the initials CS (and may perhaps be identified as Christoff Schreiber), used graphic patterns in the composition of biblical scenes and included crypto-portraits of Griffin rulers in the depictions of the Last Supper and Crucifixion. After Anna of Stettin married Ulrich III of Mecklenburg, another (also unknown) artist repainted the face of one of the apostles into a high-quality portrait of the duke of Mecklenburg.
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Lee, Kyunghwa. "Discarding the Brush: Kang Sehwang and a Sociocultural History of the Chŏlp’il Practice in Eighteenth-Century Chosŏn." Korean Journal of Art History 316 (December 31, 2022): 39–71. http://dx.doi.org/10.31065/kjah.316.202212.002.
Повний текст джерелаАнотація:
Literally meaning “discarding the brush,” chŏlp’il refers to a painter’s sudden withdrawal from artistic activities. In the field of Korean art history, chŏlp’il has long been treated as a secondary topic of inquiry, occupying merely the margins of scholarly discourse. Eighteenth-century Chosŏn, however, witnessed a remarkable increase in the frequency of occasions that the scholar-painter “discarded the brush.” That suggests the decision of chŏlp’il was neither a personal choice nor an accidental event, but a reflection of certain sociocultural norms and values. This article discusses the historical significance of this “chŏlp’il” as a social practice through the case of Kang Sehwang. He was one of the most celebrated scholar-painters of eighteenth-century Chosŏn. Yet, the question of why he halted his painterly practice for two decades has not been adequately addressed. This article investigates the abrupt pause in Kang’s artistic career in light of Chosŏn’s social system and cultural norms through a reconstruction of the entire trajectory of his chŏlp’il and its comparison with instances of other scholar-painters of the late Chosŏn period. It was the Confucian conception of class ethics that propelled the scholar-painter to eschew artistic creation. The late Joseon Confucian teachings disparaged painting as a ch’ŏn’gi, or a “trade of the lower class,” and propagated the perception that involvement in painterly practice would bring disgrace on the literati. For scholar-painters, chŏlp’il was a last resort for honoring their families and preserving their elite identities in a society that deprecated the painterly exercise. Kang’s chŏlp’il attests that Chosŏn’s scholar-painters strove for artistic excellence while still being part of their social circle who were obliged by the eighteenth-century Confucian norms. Chŏlp’il was their strategy to maintain their dual identities as a Confucian scholar and a painter.
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Leesberg, Marjolein. "Het Laatste avondmaal, het eerst bekende schilderstuk van Karel van Mander de Jonge." Oud Holland - Quarterly for Dutch Art History 122, no. 1 (2009): 1–13. http://dx.doi.org/10.1163/187501709788745157.
Повний текст джерелаАнотація:
AbstractA large panel of the Last Supper (fig. 1) can now be attributed to Karel van Mander the Younger (Haarlem c. 1583 – Delft 1623), after cleaning by the present owner, Douwes Fine Art in Amsterdam. The monogram at lower right (fig. 3), on the base of the pillar, has been identified as being that of the young artist and not of his father, the famous painter and writer of the Schilder-boeck, Karel van Mander the Elder. This painting is the first one by Karel van Mander the Younger to have been discovered.Although it is known that the young Karel van Mander had been trained as a painter in his father's workshop and registered at the latest in 1613 as a painter in the Delft guild of St Luke, the artist has until now only been known as a designer for tapestries. This he did from about 1604 at the workshop of François Spiering, which he left in 1615 to start his own tapestry workshop. The numerous sources on this period speak mostly of the difficult, troublemaking character of Van Mander, who's family fled to Denmark after his untimely death in 1623.The Last Supper is intriguing for its many borrowings from prints by and after artists from Karel van Mander the Elder's circle. The pose of several figures as well as some details of the tableware appear to have been derived from a large print by Jan Harmensz. Muller after a painting by Gillis Coignet (fig. 5). Three oddly large hands of figures at left, centre and right, are repetitions of hands from the Apostles series by Hendrick Goltzius of 1589, as is the upwards turned head of the apostle at upper left (figs. 6-8).Some of the figures have been identified by Elisabeth Valentiner, in her study on Karel van Mander the Elder of 1930, as portraits. Whereas one of them, at left of Christ, might indeed have been modelled after the print by Goltzius of Dirck Volckertsz. Coornhert (fig. 9), the identification of the person at lower right, left of the pillar, as Goltzius, is not convincing. The only actual portrait seems to be the more contemporary looking figure at upper right, whose reaching hand has been derived from yet another print by Jan Muller after Goltzius. Although not convincingly applicable for this painting, the use of portraits in a Last Supper was not uncommon. In the Schilder-boeck Van Mander described a, now lost, series of Christ and the Apostles with portraits of artists on which his friend Cornelis Ketel was working.Another interesting aspect of the painting is its date of 1602. This was the year that Van Mander's friend Bartholomeus Spranger, the court painter of Rudolf II, visited Amsterdam and Haarlem, where he was received by artists and rhetoricians. It is tempting to see the painting, possibly a joint project of both father and son Van Mander, as having been made in honour of this visit, as a tribute to Spranger with borrowings from prints by the two artists who engraved his designs, Hendrick Goltzius and Jan Muller. As such a large panel must have been made on commission, the Amsterdam notary and art patron Jacques Razet, a close friend of Karel van Mander the Elder, to whom the above mentioned print by Jan Harmensz. Muller was dedicated, comes to mind, also for the fact that he was known to support young artists.
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Harland, Beth, John Gillett, Carl M. Mann, Jason Kass, Hayward J. Godwin, Simon P. Liversedge, and Nick Donnelly. "Modes of Address in Pictorial Art: An Eye Movement Study of Manet's Bar at the Folies-Bergère." Leonardo 47, no. 3 (June 2014): 241–48. http://dx.doi.org/10.1162/leon_a_00676.
Повний текст джерелаАнотація:
Art-historical accounts of the last 200 years identify developments in the types, or “modes,” of address that a picture can present to a viewer as critical to the experience and evaluation of paintings. The authors focus on “anti-theatrical” theories of pictorial address and the complex and innovative “double relation” of absorption and acknowledgment introduced by the painter Edouard Manet. They report a case study of Manet's A Bar at the Folies-Bergère investigating expert and novice spectators' eye movements and utterances in response to the painting to find evidence that viewers seek resolution of the complex “double relation” that the theories describe.
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Elezović, Zvezdana. "The art works of Petar Đuza." Bastina, no. 58 (2022): 397–401. http://dx.doi.org/10.5937/bastina32-41469.
Повний текст джерелаАнотація:
The work deals with the artistic creations of Petar Djuza, a contemporary Serbian artist and university professor from Kosovo and Metohija. He, as a painter, opposed the persecution of the Serbian people from the area of Kosovo and Metohija in an artistic way in the eighties of the last century. The exodus experienced by the Serbs at that time was best expressed by the artist through his own creative expression. A representative example is the work Two headed forbids prayer (Dvoglavoruša zabranjuje molitvu), from Djuza's Hvostan art cycle. This artist's cycle contained paintings of monumental dimensions that were mostly destroyed in his studio in Pristina in 1999.
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Esquivel Ortiz, Omar Gonzalo. "Manuel Paz y Montejo (1732 - ca 1807) Noticias biográficas de un olvidado pintor limeño." Illapa Mana Tukukuq, no. 15 (February 7, 2019): 44–51. http://dx.doi.org/10.31381/illapa.v0i15.1841.
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ResumenEn el presente artículo se propone examinar y ofrecer nuevos alcances documentales sobre la identidad y trayectoria del pintor limeño Manuel Paz, artista cuya actividad poco atendida por los estudios especializados en arte virreinal de siglo XVIII, ha mantenido su actividad cerca del anonimato.Hemos recopilado los aportes biográficos y referencias más resaltantes sobre su obra, para revisarlas críticamente y establecer así una adecuada lectura hermenéutica de los documentos relativos al pintor, provenientes del Archivo Arzobispal de Lima y el Archivo General de la Nación.Las reflexiones centrales de este artículo giran en torno a la identidad pública que construye este artista desde su temprana actividad, cuando con apenas 18 años realiza el lienzo de gran formato El bautismo de Cristo (1749), hasta sus últimas obras conocidas en el claustro conventual de La Merced de Lima (1786-1792). Cabe acotar, que hemos preferido respetar el nombre compuesto y original del pintor Manuel Paz, en lugar de Manuel de Paz, de acuerdo con las finalidades narrativas y demostrativas que plantea este artículo sobre la orfandad disimulada del pintor.
Palabras clave: pintura, virreinato, s. XVIII, San Lázaro, bautismo.
AbstractThe purpose of this article is to examine and offer new documentary scopes on the identity and career of Manuel Paz, Lima painter , an artist whose activity little attended by the specialized studies in the eighteenth century art, has kept his activity close to anonymity. We have compiled the most outstanding biographical contributions and references on his work, to review them critically and set forth an appropriate hermeneutic reading of the documents related to the painter, from the Archiepiscopal Archives of Lima and the General Archive of the Nation. The central reflections of this article concentrates on the public identity that this artist builds from his early activity, when he was just 18 years old. At that time he made the large format canvas The Baptism of Christ (1749), until his last known works in the cloister convent of La Merced in Lima (1786- 1792). It should be noted, that we have preferred to respect the compound and original name of the painter Manuel Paz, instead of Manuel de Paz, according to the narrative and demonstrative purposes that this article proposes on the concealed orphanhood of the painter.
Keywords: painting, viceroyalty, s. XVIII, San Lázaro, baptism.
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Sandra, Lifia Alex, and Lemmuela Alvita Kurniawati. "Differentiated Instructions in Teaching English for Students with Autism Spectrum Disorder." JET ADI BUANA 5, no. 01 (April 30, 2020): 41–53. http://dx.doi.org/10.36456/jet.v5.n01.2020.2274.
Повний текст джерелаАнотація:
This study aims to explore the use of differentiated instructions in teaching English for students with Autism Spectrum Disorder (ASD) and investigate English teachers’ views on the extent of differentiated instructions in teaching English for students with ASD. The participants of this study was two English lecturers of English language education department in a private inclusive university in Indonesia. Employing qualitative method, this study used the data gathered from the interviews with the participants. This study used thematic analysis and generated five themes regarding to the use of differentiated instructions and teachers’ views on it. The first three themes were used to explain the extent of differentiated instructions in teaching English for students with ASD. The first three themes are the participants used differentiated class-assignments for students with ASD in their English class, they used differentiated content materials for students with ASD, and lastly, they provided outside-class assistance for students with ASD. The last two themes were used to reveal teachers’ vi.ws on the extent of differentiated instructions in teaching English for students with ASD. First, differentiated instructions lessened the level of anxiety of students with ASD, and second, differentiated instructions provided a positive learning environment for students with ASD. Based on the results and limitation of the study, some implications, contributions, and suggestions for future studies are presented.
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Senchenko, V. A., T. T. Kaverzneva, S. V. Kitaev, and N. Kh Abdrakhmanov. "TRANSFORMATION OF THE FORMAT OF LABOR PROTECTION REQUIREMENTS IN CONNECTION WITH CONSUMER HABITS OF INFORMATION PERCEPTION." Economics Profession Business, no. 4 (December 10, 2021): 59–67. http://dx.doi.org/10.14258/epb202156.
Повний текст джерелаАнотація:
Instructions on labor protection in today’s form have existed since the last century. During this time, mobile phones and the Internet appeared, people landed on the moon. The occupational safety instructions remained unchanged.
Generation Z is increasingly beginning to enter the workforce. It’s representatives are distinguished from the previous generation by the fact that they were actually “born with tablets, mobile phones and smartphones.” From birth, they are surrounded by a “digital web”, since Internet technologies are an integral part of their parents’ lives. This is the first generation deeply involved in digital technologies, so the archaic format of reporting labor protection requirements in form and content for new generations becomes ineffective.
This article provides a historical digression of the legislative framework regulating the legal status of labor protection instructions. The calculation of the economic officiency of paper and digital virsions of their placement has been carried out. The transition to the digital format of labor protection instructions based on changes in consumer habits of information perception is justified. For the convenience of using the instructions, it is proposed to use a QR-code with a link to the location of the place of their placement.
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Fernandes, Silvio R., Ivan S. Silva, and Marcio Kreutz. "Packet-driven General Purpose Instruction Execution on Communication-based Architectures." Journal of Integrated Circuits and Systems 5, no. 1 (November 21, 2010): 53–66. http://dx.doi.org/10.29292/jics.v5i1.310.
Повний текст джерелаАнотація:
In the last few years, the development of Multi-Core architectures was driven by the crescent advance in integration technology. In this scenario, when the number of cores increases, problems found on shared communication media, such as busses, can be addressed by using a network approach. This paper proposes the usage of communication capabilities of Networks-on-Chip (NoCs) to execute general purpose instructions. The main idea behind this approach is to allow networks-on-chip architectures to execute general purpose instructions inside each router architecture. This paper addresses the main architectural concerns involved on creating datapaths for routers as well as the programming model suggested to pack instructions on messages. Simulation results on two case studies illustrate the benefits of the proposed architecture when compared to an equivalent NoC-based MP-SoC.
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Riebling, Barbara. "England Deflowered and Unmanned: The Sexual Image of Politics in Marvell's "Last Instructions"." Studies in English Literature, 1500-1900 35, no. 1 (1995): 137. http://dx.doi.org/10.2307/450994.
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Nikolic, Ljubisa, and Vesna Jovanovic. "Cataract, ocular surgery, aphakia, and the chromatic expression of the painter Jovan Bijelic." Vojnosanitetski pregled 73, no. 11 (2016): 1003–9. http://dx.doi.org/10.2298/vsp150313126n.
Повний текст джерелаАнотація:
Background/Aim. Approaching art from the standpoint of optics and the artist?s eye pathology can sometimes explain the shift of the spectral colors in the work of some artists with cataract and aphakia. This may not be obvious in the paintings of other artists with the same eye pathology. The aim of this study was to create a timeline from the recently obtained details of the cataract surgery, his best corrected aphakic visual acuity, and the last paintings of the artist Jovan Bijelic. Methods. The research included primary and secondary source material: Bijelic?s paintings from all stages of his career, interviews with Bijelic and his eye surgeon, art criticism, sources with the description of Bijelic?s symptoms, hospital archives, discussion with art historians, comparison of his palette from different periods. Results. Jovan Bijelic was nearly blind from cataract in 1957. He underwent an unsuccessful cataract surgery in 1956, followed by enucleation of the operated eye. In 1958, 20/25?20/20 vision was regained, after the extracapsular cataract extraction and sector iridectomy in his right eye, with the posterior lens capsule discision afterwards. Xanthopsia and cyanopsia are not present in his art, which is not a representation of visualized objects. Conclusion. The response of Jovan Bijelic to cataract and aphakia was predominantly a change of his style.
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Samchuk, Taras. "Kyiv period of Illia Shulga’s life and work (1928-1938)." Text and Image: Essential Problems in Art History, no. 1 (2022): 144–51. http://dx.doi.org/10.17721/2519-4801.2022.1.11.
Повний текст джерелаАнотація:
Research work devoted to the details of the Kyiv period of life and work of Ukrainian painter Illia Shulga. This period covers the years 1928-1938, at this time there were rapid changes in the artistic life of Ukraine, which affected the fate of the artist. For most of his life the painter lived and worked at a distance from active artistic life, only in the late 1920s he manage to move to Kyiv. Despite the noticeable influence of avant-garde in artistic life, Illia Shulga consistently followed a realistic approach to art, it was the influence of his education, obtained at the St. Petersburg Academy of Arts. He successfully worked in various genres (portrait, landscape, genre paintings). During his lifetime, the artist has created about 1,000 works (the Kyiv period accounts for about 170 works), but most of them have not survived to our time. Most of Shulga's works disappeared during World War II. Today, a little more than 20 of his works are preserved in the museums of Ukraine from the huge creative heritage of the artist. The article introduces a number of documents that shed light on the details of the artist's biography. In particular, the criminal case of Illia Shulga, which recorded a number of details of the last period of the artist's life. The documents of the case shed light on the details of the arrest, the course of the investigation, and the reasons for sentencing the painter. The publication also analyzed the most complete currently known list of Shulga’s works, which includes 564 items. This list was compiled in 1941 by the artist's wife, and later this list and a number of other documents related to the life and work of the artist were deposited in the Archive-Museum D. Antonovych of the Ukrainian Free Academy of Sciences in the United States. The appendices contain a list of the artist's works that are currently stored in museums in Ukraine and a link to the list of the artist's works.
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Mulyanah, Euis Yanah, and Ishak Ishak. "ENGLISH INSTRUCTIONS FOR PRIMARY SCHOOL ENGLISH TEACHERS." Globish: An English-Indonesian Journal for English, Education, and Culture 9, no. 2 (July 17, 2020): 144. http://dx.doi.org/10.31000/globish.v9i2.2822.
Повний текст джерелаАнотація:
This research aims to motivate and improve Primary School Teacher in English skills. Based on Mulyanah's research 2018, there were 70% of English teachers were found by non-linear based on their previous study and based on TOEFL scores the teacher's lack of competence of English skill and they need interesting teaching media to improve their skill by using English instructions book to maintain the initial motivation, maintain the curiosity and interest of the teachers to develop a desire to learn languages, especially in English easily and quickly. In this research, the descriptive quantitative approach is selected by the researcher with a quasi-experimental design and non-equivalent design control group using pre-test and post-test, experimental and control group to find out the results after treatment given. The sample are 20 English teachers of Primary school in Tangerang, Indonesia. The research is divided into several of processes, pretest, 6 times for the treatments and the last posttest. The results of the research are 1) Increased teacher motivation in learning English, 2) Increased confidence using English both inside and outside the classroom. 3) 0.6% increased teacher competence in their English skills.
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Hilje, Emil. "Matrikula bratovštine Gospe od Umiljenja i Sv. Ivana Krstitelja u Znanstvenoj knjižnici u Zadru." Ars Adriatica, no. 2 (January 1, 2012): 97. http://dx.doi.org/10.15291/ars.442.
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The Mariegola of Our Lady of Tenderness and St John the Baptist and St John the Baptist (Mariegola della B. V. d’Umiltà e di S. Giovanni Battista del Tempi in Venetia) was obtained at Venice in the mid-nineteenth century by Aleksandar Paravia. The Paravia Library was bequeathed to the Research Library at Zadar, where this work is kept today. It is a codex manuscript containing three painted miniatures and a large number of decorated initials. It is akin to similar mariegole of various Venetian confraternities from the second half of the fourteenth century. However, it happens that this codex has not received equal attention in the scholarly literature as those preserved at Venice itself or in well-known international collections, and, as a consequence, the artistic quality of the miniatures and their place in the framework of the heritage of Venetian Gothic illumination has been neglected. Most publications focusing on Venetian Gothic painting, even those addressing specific themes in Gothic illumination, mostly mention the Zadar codex only in passing, while others omit it completely. With regard to the dates recorded in the mariegola text, it is possible to accept the dating of the manuscript to the last quarter of the fourteenth century, a date which is in harmony with the miniatures’ pictorial features. They reflect, in essence, a characteristic milieu of Venetian painting after Paolo Veneziano, in particular the painting circle of Paolo’s most significant follower, Lorenzo Veneziano. In that context, one can observe points of contact with the oeuvre of the Venetian painter Meneghello di Giovanni de Canali, who spent most of his career at Zadar, and it can be suggested that the miniatures may be related to his activity at Venice before coming to Zadar.However, in the mariegola itself, the lists of confraternity members record the names of several painters (Antonio de Cristofalo, Antonio, Jachomo, Marcho de Lorenzo, Nicholo de Domenego, Piero) some of whom have remained completely unknown until now, while others might be tentatively linked to the previously known names. Nonetheless, the very fact that as many as six painters were among the members of the confraternity points to the possibility that the creator of the miniatures might be one of them. At the same time, the name of the painter Piero de S. Lion is particularly intriguing as he might be identified with Pietro di Nicolò, Lorenzo Veneziano’s brother, and the name of the painter Marco de Lorenzo is also interesting as he may have been a son of the well-known painter.
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Dong, Shaoxin. "A Study on the So-Called Dong Qichang Album Discovered by Berthold Laufer." Religion and the Arts 20, no. 1-2 (2016): 92–111. http://dx.doi.org/10.1163/15685292-02001005.
Повний текст джерелаАнотація:
Since the so-called Dong Qichang album was discovered by Berthold Laufer in Xi’an, Shaanxi Province, China at the beginning of last century, several papers have been published about it by scholars such as Laufer himself, Josef Jennes, and Noël Golvers. This article, based on former related research, describes the discovery of Laufer, the contents of the album, the style of the paintings in it, and their European prototypes, and discusses the historical meanings of this album. The author concludes that the painter of this album may not be a Chinese convert and argues that although the quality of these paintings is quite low, they may be regarded as historical sources to deepen our understanding of the history of Sino-European artistic exchanges.
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Cohen-Shalev, Amir, and Aviva Rapoport. "Mondrian and the “Boogie Woogies”: Interruption of Inner Developmental Logic or Completion in Old Age?" International Journal of Aging and Human Development 36, no. 1 (January 1993): 1–8. http://dx.doi.org/10.2190/g7dr-mnad-x161-k5tr.
Повний текст джерелаАнотація:
Taking the work of the painter Piet Mondrian as a point of departure, artistic continuity and change are examined from a lifespan developmental perspective. It is argued that decontextualized continuity tends to occur within a given lifestage, whereas contextualized change is apt to emerge during a transition from one lifestage to another. Thus, Mondrian's gradual development of a unique style, predicated on logical, stage-like unfolding, is related to a midlife emphasis on formal structure. From a similar perspective, his dramatic shift away from this inner logic of development in his last work, the Boogie Woogies, is attributed to an ultimate effort in old age to synthesize art and reality, to reconcile a conflict between the laws of art and direct expression of sense experience.
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Velilla, Carlos. "Tal Vez no Sepa Vd. que yo también Pinto. Arnold Schönberg." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 235. http://dx.doi.org/10.17583/brac.2018.3364.
Повний текст джерелаАнотація:
This article is about the work of Arnold Schönberg1 (1874-1951) as a painter, a little-known facet, but a skill which has shown in excellent art expositions, both in life and posthumously. The last Arnold Schönberg. Peintre l’âme in the MahJ Museum (le musée d’art et d’histoire du Judaïsme) in París in 2016. In Barcelona in 1992: Arnold SchönbergPaintings and drawings. The collection of art work, an exhibition that came from Vienna, Cologne, Manchester, Berlin and Milan. Schönberg answers the first letter from Wassily Kandinsky (1866-1944), and tells him he was apainter, too, and wanted to speak to him about art. These works reveal the relationships that he established in his life: painting and music, idea and style, art and life, tonality and atonality, the established and the new. The doubts faced during some hard years due to the fall of an empire and theapparent peace. Pain in the vanguards at the beginning of the twentieth century. The importance of their meetings and the extensive correspondence with Kandinsky and other artists. The quest for total art. The relationship between Kandinsky’s book “The Spiritual in Art” (1912), which hedelivered to the printer at the same time as Schönberg published his “Treaty on harmony” (1911); despite their conceptual differences both have a common intention: to create from inside the individual’s interior. At the same time, atonal music and abstract art were born. Schönberg was spoken of as a musician, teacher, writer, inventor, scenographer, designer and painter.
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Marchena Giráldez, Carlos, María Xesús Froxán Parga, and Ana Calero Elvira. "Homework Instructions and Compliance Assessing in the Therapeutic Process: An Analysis of Therapists’ Verbal Behavior." Universitas Psychologica 19 (July 23, 2020): 1–13. http://dx.doi.org/10.11144/javeriana.upsy19.hica.
Повний текст джерелаАнотація:
Instructions are a common resource used by behavioral therapists to assign therapeutic homework. However, understanding how clients learn with instructions is better known in laboratory research than in clinical research. The present study aims to explore changes in the way of instructing and reviewing the client’s compliance throughout the therapeutic process. We analyzed the therapist’s verbal behavior during 211 recorded sessions corresponding to 19 cases treated by 11 behavioral therapists (53% male and 47% female). The sessions were divided into four stages according to the timing of the intervention and coded by using a previously validated coding system (SYST-INTER-INSTR). Results show that instructions become less specific towards the last stage of the intervention. However, therapists assess task compliance in the same way towards the end of the therapeutic process. The change in specificity suggests that the client’s behavior changes from being controlled by instructions to being controlled by natural contingencies. However, to make sure the clinical change remains; therapists assess and reinforce the client’s compliance until the end of the intervention. Although clinical implications of the results, some limitations (i.e., not considering the type of task instructed) should be addressed in future studies.
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FLYNN, JAMES R. "ISRAELI MILITARY IQ TESTS: GENDER DIFFERENCES SMALL; IQ GAINS LARGE." Journal of Biosocial Science 30, no. 4 (October 1998): 541–53. http://dx.doi.org/10.1017/s0021932098005410.
Повний текст джерелаАнотація:
From 1971 to 1984, the Israeli Defence Forces administered two tests unaltered that qualify as IQ tests. These were the Matrices and the Instructions tests. The former is an adaptation of Raven's Progressive Matrices, similar to the original in that there are clusters with progressive difficulty and an escalation of difficulty throughout the test. The raw score range is from 4 to 35. The Instructions test is adapted from the old US Army Alpha Instructions Test and is described as an Otis-type verbal test. It includes 21 open-ended instructions. Typical items: write the last letter of the word which is the opposite of black; write the third letter of the largest word among the following four words; find the word beginning and ending with the same letter and write that letter. There are similar questions using numbers rather than letters. Both tests are timed, and most subjects do not complete either. There is no penalty for wrong answers (Col. Moshe Even-Chen, personal communication, 14 March 1990; Gal, 1986, pp. 79 and 95; Judy Goldenberg, personal communications, 4 March 1991 and 25 April 1993).
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Mazinder, Dr Raj Kumar. "CONTEMPORARY WOMEN ART AND ARTISTS: A STUDY ON FEW FEMALE VISUAL ARTISTS OF ASSAM." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (June 23, 2022): 452–64. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.136.
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Art has always been an open filled for women artists and an important tool for social and political articulation from a gender perspective, so they have expressed many forms of repression and discrimination by using various media and by incorporating both traditional and modern-day motifs. A large number of them have been active even in the pre-independence era of India, as the visibility of women-made art production grew, which can be contributed to the prominence of Sunayana Devi of famed Jorasnako Tagore residence of Calcutta and Paris educated painter Amrita Sher-Gil with their pioneering works. My objectives are to study contemporary women artists in Assam in specific of recent time of last 30 years and their concerns on globalization, gender politics and ecology of Assam.
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Krakowiak, Małgorzata. "Józef Czapski: ciało – osoba – twarz." Humaniora. Czasopismo Internetowe 35, no. 3 (September 15, 2021): 57–71. http://dx.doi.org/10.14746/h.2021.3.4.
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This article is dedicated to analysis of Józef Czapski’s different carnality aspects in his works and personal documents (letters, diary memos). Czapski was a painter, painting theoretician as well essayist and diarist. In every discipline mentioned the most important factor was personal experience – contact with nature, feeling of world carnality. The article shows (basing on works referring to the period of war) how Czapski expressed his attitude to his and others suffering. From the letters and personal memos excavated fragments illustrating the process of growing old – hidden but affecting 50 years old Czapski (he died when 97) The last part is dedicated to Czapski’s blindness and the way he was able to save the dignity of the human who’s body is in the process of irreparable destruction (blindness, dementia).
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Stone, Arthur A., Cheng K. Fred Wen, Stefan Schneider, and Doerte U. Junghaenel. "Evaluating the Effect of Daily Diary Instructional Phrases on Respondents’ Recall Time Frames: Survey Experiment." Journal of Medical Internet Research 22, no. 2 (February 21, 2020): e16105. http://dx.doi.org/10.2196/16105.
Повний текст джерелаАнотація:
Background Daily diaries are extensively used for examining participants’ daily experience in behavioral and medical science. However, little attention is paid to whether participants recall their experiences within the time frames prescribed by the task. Objective This study aimed to describe survey respondents’ self-reported recall time frames and to evaluate the impact of different daily diary items on respondents’ reported affective states. Methods In this study, 577 participants completed a mood survey with one of the following 4 time frame instructions: (1) today, (2) since waking up today, (3) during the last 24 hours, or (4) in the last day. They were also asked to indicate the periods they considered when answering these items and to recall the instructional phrases associated with the items. Results Almost all participants in the today (141/146, 96.6%) and since waking up today (136/145, 93.8%) conditions reported using periods consistent with our expectations, whereas a lower proportion was observed in the during the last 24 hours (100/145, 69.0%) condition. A diverse range of responses was observed in the in the last day condition. Furthermore, the instructions influenced the levels of some self-reported affects, although exploratory analyses were not able to identify the mechanism underlying this finding. Conclusions Overall, these results indicate that today and since waking up today are the most effective instructional phrases for inquiring about daily experience and that investigators should use caution when using the other 2 instructional phrases.
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Petrescu, Cezara. "The last lieder of Theodor Grigoriu. Stylistic and interpretive aspects." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 176–98. http://dx.doi.org/10.2478/ajm-2019-0009.
Повний текст джерелаАнотація:
Abstract Theodor Grigoriu, a reference figure for the XXth century Romanian music, as a senior of the post-enescian generation of composers, with a moderately modern attitude towards composing, had explored the expresive resources of the human voice in the vocal-symphonic and vocal-chamber genres. Although, from a quantitative point of view, his voice and piano works are not too numerous and the vocal-chamber genre had not been a constant focus of the composer, lied remains one of the most representative areas of his entire creation, marked by an accomplished literary taste and harmoniously neighboured by the halo of poetry. The lied had marked Theodor Grigoriu’s professional existence, beginning with the first childhood experiments which proved decisive for his future career, up to the inconstant achievements of his creative maturity. Although approached in a non-consistent manner, the diversity, mastery of composition and the abutment to works from a more ample genre to which he resonates and configures genuine “creation laboratories”, the voice and piano cycles of works represent what can truthfully be called lied creation. Letter to birds on words by St. Francisc of Assisi (2004) and The iconographer – The poem of a church painter (2011) on words of a patriarchal, novel text with no poetic aspirations, are the last lieder of Theodor Grigoriu, published posthumously. As a binding of music and poetry into a one poethico-musical universe, they are an exponent of accumulations and transformations of musical language, spectacular compositions, of paramount originality, which harmoniously complete the spiraled path of the genre in the context of the composer’s entire creation.
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Tulić, Damir. "Cristoforo Tasca i Giovanni Battista Augusti Pitteri: nepoznate slike i njihovi naručitelji na sjevernom Jadranu." Ars Adriatica 9 (February 28, 2020): 89–106. http://dx.doi.org/10.15291/ars.2926.
Повний текст джерелаАнотація:
In the first two decades of the 18th century, Cristoforo Tasca (Bergamo, 1661 – Venice, 1735) produced numerous artworks for Rijeka, Krk, and Karlobag. His oeuvre has now been complemented by a signed and dated altarpiece from 1725 at the main altar of the Collegiate, today a parish church in Rijeka. The author elucidates the complex circumstances behind the construction of the main marble altar and the role of its donators, the Orlando family, who created the altar iconography as directly related to the family’s patron saints. Based on the last will of Giovanni Michele Androcha from 1728, the presence of painter Cristoforo Tasca in Rijeka has been confirmed for the first time in a written document. A painting of the Annunciation, which originates from the former Benedictine monastery of St Rochus in Rijeka and is today preserved in the Benedictine monastery of San Daniele in Abano Terme near Padua, has been likewise attributed to Tasca. The second part of the article focuses on artworks that have been newly attributed to the Venetian painter Giovanni Battista Augusti Pitteri (Venice, between 1691 and 1695 – Zadar ?, after 1759 ?), who moved to Zadar around 1730 and left a major opus in Dalmatia. Before 1730, a large painting of the Baptism of Christ was made for the parish church of San Martino in Burano, attributable to Pitteri. Another artwork discussed in the article is the anonymous signed painting of the Virgin with the Child and Saints from the Franciscan Church of St Anne in Koper.
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Ramadhan, Glenn, Jansen Wiratama, and Angga Aditya Permana. "Development of Virtual Painting Method using OpenCV Library with Finger Gesture on Online Learning Platform." JIKA (Jurnal Informatika) 6, no. 3 (October 27, 2022): 332. http://dx.doi.org/10.31000/jika.v6i3.6875.
Повний текст джерелаАнотація:
With the pandemic situation that has occurred for the last two years to date, educators and students carry out many learning activities online. Learning activities are carried out using virtual meeting media, the concept of meetings and discussion processes that are carried out virtually with existing digital communication devices. From the problems, it was found that students were likelier to be less active when learning theory than practice, which made it difficult for educators to find various media that would be given to students to support online learning activities to be more interactive. This study discusses the creation of a system that can be a medium for delivering helpful material to improve the quality of interaction between educators and students. A virtual painter is one of the media to support the online interactive learning process, where educators can complete the material presented with a clearer picture that educators provide to students. Virtual painters are used to tracking finger pattern movements where the user moves his hand as needed, namely drawing and release, which educators can use to deliver more interactive material to students in theoretical and practical learning. The system design method used in building the virtual painting is Rapid Application Development (RAD) which is carried out through 8 stages, starting from Requirements Analysis to Operation and Maintenance. Next, the diagram design uses UML notation and the phyton with OpenCV coding process. After the virtual painter had been made, an evaluation was conducted and resulted in a positive impression of all six scales: attractiveness, efficiency, clarity, precision, stimulation, and novelty.
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Peck, Robert McCracken. "A painter in the Bering Sea: Henry Wood Elliott and the northern fur seal." Polar Record 50, no. 3 (November 21, 2013): 311–18. http://dx.doi.org/10.1017/s0032247413000703.
Повний текст джерелаАнотація:
ABSTRACTHenry Wood Elliott (1846–1930), a U.S. Treasury official assigned to monitor the harvest of northern fur seals on the Pribilof Islands in the 1870s, became a self-taught expert on, and defender of, the species. His careful documentation of the seals’ breeding behaviour, and of their commercial harvest, complemented by hundreds of detailed and evocative watercolours, provides a unique record of this once abundant species and the lucrative industry that revolved around it. Elliott's outspoken lobbying on behalf of the seals’ protection is often credited with saving the species from extinction. His paintings of the seals, the seal harvest, and life on the Pribilof Islands in the second half of the nineteenth century constitute an unmatched historical record of this remote region.Elliott was able to witness two full breeding seasons (and harvesting) of the fur seals during his initial stay on the Pribilofs from April 1872 to October 1873. He returned to the islands to conduct a follow-up census of the seals, on behalf of the U.S. Government, in the summer of 1874. He traveled there unofficially and at his own expense in 1876. His fourth trip to the Pribilofs was in the spring of 1890 (again on behalf of the U.S. Department of the Treasury), in response to news of a dramatic decline of the seal populations. In April, 1891, because of his public revelation of mismanagement of the fur seal harvest, Elliott was fired by the Treasury. He continued his tireless lobbying on behalf of the fur seals as a private citizen for the rest of his life. He visited the Pribilofs for the last time on behalf of the House Committee on Expenditures in the Department of Commerce and Labor in the summer of 1913. Born in Cleveland Ohio on November 13, 1846, Elliott died in Seattle Washington on May 25, 1930.