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Colored glass in the form of stained-glass windows has been used to decorate buildings for over a thousand years. Due to various late-twentieth-century technological achievements, this material allows for a broad spectrum of design solutions. Glass can be used both in contemporary and historical buildings. This paper presents an analysis of the work of Tomasz Urbanowicz, an artist who works with glass, and its objective is to present not only the body of work of this artist but also the means of using colored glass in creating new values in architecture. The work is based on a study of the literature that covers the contemporary application of colored glass, on-site analysis of projects, and a series of interviews with the artist before, during, and after project completion, as well as the authors' personal experience in the matter. One of the main research methods used was an analysis of the artist's stance, as to him, the very process of pursuing creative inspiration is a fundamental procedure. Glassworks by Urbanowicz were displayed at the EXPO 2000 in Hanover (Germany), the EXPO 2005 in Aichi (Japan), and the EXPO 2008 in Saragossa (Spain). The United Earth glass sphere has been decorating the agora of the European Parliament building in Strasbourg (France) since 2004. In the paper, the artist's projects are presented in two groups: The first includes solutions that employ monochromatic color schemes, whereas in the second, color has been used to create a strong contrast. The analysis presented includes interventions in historical buildings under heritage conservation, but also compositions from architectural glass in newly built buildings and that reference place-based history. Both the initial vision and the final effect of the glass architectural compositions are site-specific. The analysis of these differences and how the artist works allowed us to formulate a scheme of how he operates. Urbanowicz's glass interventions affect the quality of the spaces they create and highlight their existing or expected features. The influence of the works can either play a primary and dominant role in relation with the surrounding space or be a secondary and delicate addition. Applied color may have different functions, from highlighting specific aspects of a building to introducing symbolic or direct reference. In many projects, color works as a source of a building interior's atmosphere. The artistic interventions in historic spaces emphasize their features without disrupting pre-existing authenticity, whereas contemporary projects with no historic reference offer a wide variety of color applications that focus on the function and form of architecture, landscape, or surroundings.

Because of the absence of undeniable norms or criteria which would define the boundaries of contemporary art, the legitimation process is a better analytical tool than the identification one. Consequently, this article analyses networks and processes which contribute, together or separately, to the acknowledgement of the artist and its work of art. It also points out the effects of such a difficulty in identifying the contemporary artist. These one either concern the evaluation of the value of work or the implementation of public policies. Based on a regional field work, this article try to highlight the specific gain analyse should obtain through a bottom-up perspective. After having described the contemporary art networks in the Languedoc-Roussillon region, this article questions the notion of political legitimation of contemporary art and, in turn, the specific legitimacy patterns that politicians are using when they conduct public action in the contemporary art filed.

"The Legacies of the Roma Genocide in Europe since 1945 explores the legacies of the genocide of Roma in Europe after the end of the Second World War. Hundreds of thousands of people labelled as 'Gypsies' were persecuted or killed in Nazi Germany and across occupied Europe between 1933 and 1945. In many places, discrimination continued after the war was over. The chapters in this volume ask how these experiences shaped the lives of Romani survivors and their families in eastern and western Europe since 1945. This book will appeal to both researchers and students alike in the history of the Roma Genocide, Nazi Germany, and Modern European History"--

The Western world is witnessing the importing & sale of ever-increasing amounts of 'primitive art.' The study of the contemporary arts of these small scale societies has been neglected by anthrop'ts & art historians alike, because we have up until now concentrated quite ethnocentrically on the 'pure' or 'traditional' arts. This paper attempts to remedy the situation through 3 case studies: Canadian Eskimo sculpture & prints; Kamba wood carvings; & the ivory carving of the Alaskan Eskimos. The ensuing discussion of these contemporary arts & the variety of processes concludes with a proposed typology into: functional fine arts, where the arts are used for traditional purposes but with some borrowed techniques; commercial fine art, which is made for sale but adheres to traditional artistic standards; souvenir arts, where the emphasis is on cheapness & speed of production; & assimilated fine arts, wherein Western techniques & media have been learned but the contents retains a consciously 'ethnic' flavor & symbolism. The paper concludes by emphasizing the need for more studies & pointing out the importance of such arts in maintaining or modifying threatened cultural identities in an increasingly pluralistic world. AA.

Cover -- Part I: Study on the European added value of legislative action on cross-border restitution claims of works of art and cultural goods looted in armed conflicts and wars with special regard to aspects of private law, private international law and civil procedure -- Executive Summary -- Chapter 1 - Terms of Reference -- I. Mission: Tackling legal uncertainty within the civil law dimension of cross-border restitution claims by EU legislative action -- II. Overall objective: Improving "private enforcement" against looting of art and cultural property -- III. Reason: Limited scope and success of public enforcement -- IV. Caveats: Procedural and material justice of civil law -- V. Incomplete history of public and private "partnership" in the protection of cultural property -- VI. Support for a comprehensive regulatory framework by the United Nations -- VII. Focal points of an effective private enforcement for claims for restitution of looted cultural property by EU legislative action -- Chapter 2 - On the scale of illicit trade with Looted Cultural Property -- I. The global art market: Up to USD 57 billion per annum? -- II. Illicit trade: Up to USD 8 billion per annum? -- III. ILLICID: A German pilot project for investigating the illicit art market -- IV. Figures from Databases in the field -- 1. INTERPOL -- 2. Art Loss Register -- 3. Lost Art Database (Nazi Looted Art) -- 4. Central Registry of Information on Looted Cultural Property 1933 - 1945 (Nazi Looted Art) -- V. Many more recent signs of concern -- 1. UN Security Council Resolution 2347 (24 March 2017) -- 2. Terrorism and Illicit Finance Subcommittee of the US House of Representatives (23 June 2017) -- 3. FBI Report "Art Theft" (3 May 2017) -- 4. Council of Europe Convention on Offences relating to Cultural Property (3 May 2017)

Intro -- Author's Note & -- Acknowledgements -- Introduction -- Prologue -- 01 -- India's Early Years (30,000-500 Bce) -- 02 -- The Aryans -- 03 -- The Kshatriyas -- 04 -- Indian Martial Arts -- 05 -- Weapons -- 06 -- Military Forces -- 07 -- Wars of Imperial Succession -- 08 -- India's Subjugation (11th century to mid-20th Century CE) -- 09 -- Indian Revoluntionary Warriors (1857 on) -- 10 -- World War One (1914-1918) -- 11 -- Interim -- 12 -- World War Two (1939-1945) -- WORLD WAR TWO (1939-1945) BRITISH INDIAN ARMY -- WORLD WAR TWO (1939-1945) INDIAN LEGION -- WORLD WAR TWO (1939-1945) INDIAN NATIONAL ARMY -- 13 -- Independence and Partition -- 14 -- Military Actions -- WARS -- POLICE ACTIONS -- COUNTER-INSURGENCIES. -- EXPEDITIONARY FORCES -- U.N. PEACE-KEEPING MISSIONS -- Epilogue -- Appendices -- APPENDIX 1 -- APPENDIX 2 -- INDIAN HEROES OF THE BATTLE OF SARAGARHI -- APPENDIX 3 -- "The Swastika and the Charka" - the European/Indian Nexus -- Maps -- Bibliography -- Index.

Frontmatter -- Contents -- Dramatis Personae -- Prologue: Kaffee und Kuchen with Bruno -- Introduction -- 1. Art Historian, Art Dealer, Member of the SS (1911–41) -- 2. The "King of Paris" (1941–43) -- 3. Darker Hues and War's End (1943–45) -- 4. Called to Account (1945–50) -- 5. The Amnesia Years -- 6. Lohse in North America -- 7. War Stories, War Secrets -- 8. Restitution -- 9. Bruno Lohse and the Wildensteins -- Epilogue: On the Trail of the Nazi Plunderers -- Appendix: Artworks in the Possession of Dr. Bruno Lohse and the Schönart Anstalt -- Acknowledgments -- List of Abbreviations -- Notes -- Prologue -- Index

The study deals with Wolfgang Kraus (1924-1998), a central protagonist of Austrian literary life after 1945 and a well-connected literary critic and
essayist as weil as founder and director of the "Austrian Literary
Association". By incorporating archival sources hitherto unknown the study describes the activities of Kraus as a manager of Austrian literature. Kraus' assessment of literature comes into locus in the
contexts of literary Criticism and Cultural Policy supplemented by
aspects of an intellectual history and elements of an institutional history as well as phenomena like the cultural Cold War. - Wolfgang Kraus (1924-1998) war der zentrale Akteur des
österreichischen Literaturbetriebs nach 1945. Anhand bisher unbekannter archivalischer Quellen werden seine (Be-)Wertungsprozesse von Literatur im literaturkritischen als auch
kulturpolitischen Kontext beschrieben und charakterisiert, wobei mit der Fokussierung auf Kraus neben Aspekten einer "intellectual history" auch
Elemente einer Institutionsgeschichte sowie zeitgeschichtliche Phanomene wie der kulturelle Kalte Krieg zu Tage treten.

International audience ; This text, commissioned in 2003 by a French festival director, Michel Caserta, reflects upon the shifts occurred in the French contemporary scene in the nineties. « To my mind, this movement is above all characterized by a twofold critical production: first, it questions the choreographic legacy of, as well as the discourses "on," dance, since it is clear that aesthetic and cri­tical thoughts are closely linked, and that it is not possible to engage with one without becoming bound up with the other. It is well known that the end of the 1990s was affected by a crisis of every value that underlay the choreography of the previous decade. Today a new generation of dancers, choreographers, and performers offers an analysis of, and reaction to, the system as a whole, whose principal failing was its stifling uniformity. One of the qualities of this critical movement is that it tackles the system as a whole, showing how it operates in terms of aesthetics (which aesthetic norms are now dominant?), politics (what connections govern the relationships that exist between artists, artists and regulating bodies or curators, spectators and dancers, etc?), and economics (how the development of a market for the performing arts is indissociable from the development of an aesthetic). With the market saturated and the system hardly allowing any new names to enter, this period of theorization is being accompanied by political actions involving artists themselves taking up new spaces and modes of production. A new community of dance has therefore emerged, coexisting with the previous. »

International audience ; This text, commissioned in 2003 by a French festival director, Michel Caserta, reflects upon the shifts occurred in the French contemporary scene in the nineties. « To my mind, this movement is above all characterized by a twofold critical production: first, it questions the choreographic legacy of, as well as the discourses "on," dance, since it is clear that aesthetic and cri­tical thoughts are closely linked, and that it is not possible to engage with one without becoming bound up with the other. It is well known that the end of the 1990s was affected by a crisis of every value that underlay the choreography of the previous decade. Today a new generation of dancers, choreographers, and performers offers an analysis of, and reaction to, the system as a whole, whose principal failing was its stifling uniformity. One of the qualities of this critical movement is that it tackles the system as a whole, showing how it operates in terms of aesthetics (which aesthetic norms are now dominant?), politics (what connections govern the relationships that exist between artists, artists and regulating bodies or curators, spectators and dancers, etc?), and economics (how the development of a market for the performing arts is indissociable from the development of an aesthetic). With the market saturated and the system hardly allowing any new names to enter, this period of theorization is being accompanied by political actions involving artists themselves taking up new spaces and modes of production. A new community of dance has therefore emerged, coexisting with the previous. »

International audience ; This text, commissioned in 2003 by a French festival director, Michel Caserta, reflects upon the shifts occurred in the French contemporary scene in the nineties. « To my mind, this movement is above all characterized by a twofold critical production: first, it questions the choreographic legacy of, as well as the discourses "on," dance, since it is clear that aesthetic and cri­tical thoughts are closely linked, and that it is not possible to engage with one without becoming bound up with the other. It is well known that the end of the 1990s was affected by a crisis of every value that underlay the choreography of the previous decade. Today a new generation of dancers, choreographers, and performers offers an analysis of, and reaction to, the system as a whole, whose principal failing was its stifling uniformity. One of the qualities of this critical movement is that it tackles the system as a whole, showing how it operates in terms of aesthetics (which aesthetic norms are now dominant?), politics (what connections govern the relationships that exist between artists, artists and regulating bodies or curators, spectators and dancers, etc?), and economics (how the development of a market for the performing arts is indissociable from the development of an aesthetic). With the market saturated and the system hardly allowing any new names to enter, this period of theorization is being accompanied by political actions involving artists themselves taking up new spaces and modes of production. A new community of dance has therefore emerged, coexisting with the previous. »

The sacred mountain range of Wutai Shan (known in Tibetan as Riwo Tsegna) on the northern frontier of China offers a unique site for examining the religious culture of the Qing empire. Not only did it become one of the most important pilgrimage sites for Tibetans and Mongolians, it is also the location where Tibetan and Chinese Buddhist cosmographies converged. While surviving texts and images of Wutai Shan from medieval China have attracted considerable scholarly attention, artistic and literary representations of the mountain range in the later periods have rarely been studied. Drawing on a panoply of textual, pictorial, and architectural sources from Qing dynasty (1644-1912) onward, this dissertation explores the shifting dynamics of this holy site as a geographical, visual, and visionary destination in Tibetan Buddhism. Primary objects of my analysis include pilgrims' maps, mural programs that include Wutai Shan, praise poems, travel narratives and guidebooks, as well as sculptural and architectural replicas of the mountain range by Tibetan Buddhists in Tibet, Mongolia, the Manchu court in Beijing, and at Wutai Shan itself. Each chapter coheres around individual(s) responsible for producing knowledge about Wutai Shan. Taken together, these case studies reveal the building blocks of Wutai Shan's visionary landscape: the discourse of visionary encounters, memories of previous masters, rituals, travel, and cosmography. I show that representations of these seemingly ephemeral or intangible histories, concepts, and experiences constitute the core of the mountain's religious identity, defining the ways Wutai Shan came to be viewed in the Tibetan Buddhist world with a potency and persistence that outstrips its physical topography and material structure or holdings. I argue that these ideas and visions of the mountain range significantly reconfigured sacred cosmography and political identities of the Qing empire and beyond.