Suchergebnisse

En: Studia Historica : Historia medieval. ISSN 0213-2060. n. 33, 2015, p. 69-96 ; Se pretende abordar la relación existente entre formulaciones propias de una teología política de la Realeza salomónica y el mecenazgo cultural, científico y artístico de los soberanos de los reinos de León y Castilla en el periodo 1000- 1200 a partir del estudio comparativo tanto de los textos como del contexto cortesano en el que estos intelectuales áulicos se desenvolvieron. Particularmente relevantes de cara a este análisis resultan tanto la recepción de dinámicas curiales e ideas políticas ultrapirenaicas como las mutuas influencias entre los reinos cristianos peninsulares. De la visión comparativa global se extrae la consecuencia de que estamos no ante un fenómeno regional sino ante la expresión hispánica de un movimiento ideológico y cultural del conjunto del Occidente latino medieval. ; This article deals with the connections between the discourse of the political Theology of Solomonic kingship and the patronage of learning and the arts displayed by the rulers of Leon and Castile in the period 1000-1200. This will be accomplished through the comparative analysis of the court intellectuals and artist and their works in their curial context. Particularly relevant for this analysis are the reception of European courtly dymanics and political ideas and the mutual influences between the Spanish Christian kingdoms themselves. From this comparative view we conclude that this was not a regional development but just the local Spanish reception of a European-wide ideological and cultural movement.

The last two decades have seen concerns for equality, diversity, social justice and human rights move from the margins of museum thinking and practice, to the core. The arguments - both moral and pragmatic - for engaging diverse audiences, creating the conditions for more equitable access to museum resources, and opening up opportunities for participation, now enjoy considerable consensus in many parts of the world. A growing number of institutions are concerned to construct new narratives that represent a plurality of lived experiences, histories and identities which aim to nurture support for more progressive, ethically-informed ways of seeing and to actively inform contemporary public debates on often contested rights-related issues. At the same time it would be misleading to suggest an even and uncontested transition from the museum as an organisation that has been widely understood to marginalise, exclude and oppress to one which is wholly inclusive. Moreover, there are signs that momentum towards making museums more inclusive and equitable is slowing down or, in some contexts, reversing. Museums, Equality and Social Justice aims to reflect on and, crucially, to inform debates in museum research, policy and practice at this critical time. It brings together new research from academics and practitioners and insights from artists, activists, and commentators to explore the ways in which museums, galleries and heritage organisations are engaging with the fast-changing equalities terrain and the shifting politics of identity at global, national and local levels and to investigate their potential to contribute to more equitable, fair and just societies.

En: Studia Historica : Historia medieval. ISSN 0213-2060. n. 33, 2015, p. 69-96 ; Se pretende abordar la relación existente entre formulaciones propias de una teología política de la Realeza salomónica y el mecenazgo cultural, científico y artístico de los soberanos de los reinos de León y Castilla en el periodo 1000- 1200 a partir del estudio comparativo tanto de los textos como del contexto cortesano en el que estos intelectuales áulicos se desenvolvieron. Particularmente relevantes de cara a este análisis resultan tanto la recepción de dinámicas curiales e ideas políticas ultrapirenaicas como las mutuas influencias entre los reinos cristianos peninsulares. De la visión comparativa global se extrae la consecuencia de que estamos no ante un fenómeno regional sino ante la expresión hispánica de un movimiento ideológico y cultural del conjunto del Occidente latino medieval. ; This article deals with the connections between the discourse of the political Theology of Solomonic kingship and the patronage of learning and the arts displayed by the rulers of Leon and Castile in the period 1000-1200. This will be accomplished through the comparative analysis of the court intellectuals and artist and their works in their curial context. Particularly relevant for this analysis are the reception of European courtly dymanics and political ideas and the mutual influences between the Spanish Christian kingdoms themselves. From this comparative view we conclude that this was not a regional development but just the local Spanish reception of a European-wide ideological and cultural movement.

Recent debates about the ethics of identity in a global age have dealt with how to prioritize conflicting local and global allegiances. Guided by these concerns, the fiction of Alice Walker develops a distinctive view of how local cultures and global movements can fruitfully interact. This vision depends on concepts from Asian religions, a major influence that critics of Walker have largely overlooked. Walker promotes Hindu and Buddhist meditation in a context of widespread African American skepticism toward Asian religions. According to widespread notions of cultural authenticity, Asian religions cannot nourish an African American connection to ethnic roots. In response to this challenge, Alice Walker's fiction portrays Hindu and Buddhist mystics as African Americans' ancestors, thus positioning these faiths as authentically black. By creatively enfolding Asian religions into her sense of African American heritage, Walker builds a spiritual cosmopolitanism that relies on claims of ancestral affiliation even when these claims are not literal. This strategy is Walker's effort to create a new paradigm of cultural authenticity, one that allows individuals and groups to choose their ancestors. Walker's approach seeks to incorporate disparate global influences while still valorizing the figure of the ancestor. This innovative approach places Walker at the forefront of a growing number of African American artists and intellectuals who promote Asian religions to American minorities. Walker's work vividly dramatizes larger concerns in transnational American Studies: Eastern philosophy's relevance to identity politics, the tensions between universal ideals and cultural specifics, and the ethics of cross-cultural appropriation.

СМИ один из важнейших институтов общества, инструмент для быстрого и всеохватного донесения информации любой направленности до каждого человека, поле битвы различных мастеров «медиавойн». Являясь, по сути, «четвертой властью», они влияют на все сферы общества, в первую очередь политику, культуру, образование, религию и даже на личную жизнь людей. Более того, восприятие и оценка явлений и событий в стране и мире является результатом направленной работы средств массовой информации. Современный мир живет по медийному правилу: существует и важно только то, о чем говорят СМИ. Одна из актуальнейших повесток дня современности непрекращающийся конфликт в Сирии и роль в нем СМИ. В статье рассматривается реакция мировых СМИ на применение химического оружия в восточных пригородах Дамаска Гуте. ; The media is one of the most important institutions of society, a tool for rapid and inclusive of conveying information of any kind to everyone, battleground various artists "medieval". As, in fact, the "fourth estate", they affect all spheres of society, primarily politics, culture, education, religion and even personal lives. Moreover, the perception and evaluation of phenomena and events in the country and the world and is touted through them and with them. The modern world lives according to the media rule: there is important and just what is said by the media. One of the most urgent agenda of modernity the ongoing conflict in Syria and the role of the media. Accordingly, the article discusses the reaction of the world's media on the use of chemical weapons in the Eastern suburbs of Damascus ghouta.

This work presents and reflects on the construction of an "art (photo) - Militant memory" field in Argentina. Inspired by the bourdiana theory, work around four artists paths that converge in the art space art Museo de Arte y Memoria de La Plata. With that, we understand the different relations of alliance and solidarity between these actors and institutions in shaping a specific type of art relevant to works by the memory of Argentina's military dictatorship. ; El presente trabajo reconstruye y reflexiona sobre la construcción de un campo "artístico (fotográfico)-militante de la memoria" en Argentina. Inspirados en la teoría bourdiana, trabajamos en torno a cuatro trayectorias de artistas que confluyen en el espacio artístico del Museo de Arte y Memoria de La Plata. Con ello, logramos entender las distintas relaciones de alianza y solidaridad entre estos agentes y las instituciones en la conformación de un específico tipo de arte, correspondiente a los trabajos por la memoria de la última dictadura militar argentina. ; O presente trabalho reconstrói e reflete sobre a construção de um campo "artístico (fotográfico) militante da memória" na Argentina. Inspirados na teoria do Pierre Bourdieu, abordamos quatro trajetórias de artistas que confluem no espaço artístico do Museu de Arte e Memória de La Plata. Com isso, logramos entender as diferentes relações de aliança e solidariedade entre estes agentes e as instituições em conformação de um específico tipo da arte, correspondente a os trabalhos pela memória da última ditadura militar na Argentina.

The studio-­‐based research is presented as the artwork Progress in Action— a constellation of forms including moving image, physical and organic matter. This assemblage explores the fundamental physical, ecological and political transformations that are at the core of the Panguna Copper Mine crisis and subsequent Bougainville civil war, with a particular focus on the Bougainville Revolutionary Army's use of coconut oil as an alternative fuel source. The exegesis presents an analysis of the artwork Progress in Action, in large part constructing an argument about this work and its relationship to transformation, duration and the material world. Methodologically, the exegesis constructs a set of insights and arguments central to my own work through an analysis of key artworks by other artists and antecedents, chosen for their potential to offer up both analogous, visual and material instances of transformations and assemblages. These arguments have been developed by drawing on the writing and philosophical positions of Henri Bergson, Dziga Vertov and Mary Ann Doane amongst others. The research works through three leading areas of inquiry around the potential for transformation: material transformation, visual/cognitive transformation and social transformation. The exegesis works around this central question: How can the convergence of film and sculpture produce a series of transformations that are contingent on their assemblage? I explore how a work of art might describe and manifest a series of interrelated transformations, pertinent to both the character of art, specifically, sculpture and the moving image, and to the relations between art and the wider world.

El proceso de construcción de la Unión Europea es un proceso original pero inacabado. Desde una perspectiva histórica, el proceso de construcción europea no es tan sui géneris. No es un cuadro pintado de una vez por una sola mano, sino una catedral que viene construyéndose trabajosamente desde hace medio siglo y cuyos contornos se van definiendo cada vez más. Hoy estamos en un momento adecuado para identificar las principales características del modelo actual y reflexionar sobre su futuro. La Unión Europea ha sido y es un gran instrumento de prosperidad a muy bajo coste. Una organización de la que ninguno de sus integrantes, ni siquiera lo más reticentes, se propone salir, y que cada vez tiene más candidatos a la entrada. ; The process of construction of the ELI is an original process, but also an unfinished one. From an historical perspective, the process of construction is not so idiosyncratic. It is not a picture painted once by a single artist, but a cathedral that has been in construction for a half century and whose outline is more and more defined every day. Today we are in an adequate moment to identify the principal characteristics of the actual model and to reflect about its future. The European Union has been and still is a great instrument of prosperity at a very low cost. An organisation from which none of its members, including the most reluctant ones, intend to leave and that everyday has more and more candidates to join.

This work presents and reflects on the construction of an "art (photo) - Militant memory" field in Argentina. Inspired by the bourdiana theory, work around four artists paths that converge in the art space art Museo de Arte y Memoria de La Plata. With that, we understand the different relations of alliance and solidarity between these actors and institutions in shaping a specific type of art relevant to works by the memory of Argentina's military dictatorship. ; El presente trabajo reconstruye y reflexiona sobre la construcción de un campo "artístico (fotográfico)-militante de la memoria" en Argentina. Inspirados en la teoría bourdiana, trabajamos en torno a cuatro trayectorias de artistas que confluyen en el espacio artístico del Museo de Arte y Memoria de La Plata. Con ello, logramos entender las distintas relaciones de alianza y solidaridad entre estos agentes y las instituciones en la conformación de un específico tipo de arte, correspondiente a los trabajos por la memoria de la última dictadura militar argentina. ; O presente trabalho reconstrói e reflete sobre a construção de um campo "artístico (fotográfico) militante da memória" na Argentina. Inspirados na teoria do Pierre Bourdieu, abordamos quatro trajetórias de artistas que confluem no espaço artístico do Museu de Arte e Memória de La Plata. Com isso, logramos entender as diferentes relações de aliança e solidariedade entre estes agentes e as instituições em conformação de um específico tipo da arte, correspondente a os trabalhos pela memória da última ditadura militar na Argentina.

Comtesse puis duchesse d'Angoulême, Louise de Savoie (1476-1531) n'est pas seulement la mère de deux enfants illustres, Marguerite (future reine de Navarre) et François (futur François Ier). Avant l'avènement de son fils, elle est l'une des familières de Louis XII et de sa cour ; une fois son « César » devenu roi de France, elle est omniprésente : nommée régente à deux reprises (en 1515 puis de 1524 à 1526), elle exerce une influence considérable sur le Conseil ; elle reçoit les ambassadeurs, négocie avec les princes et les princesses du temps, fait et défait des lignages et des carrières. Amatrice d'objets et d'œuvres d'art mais aussi bibliophile avertie, elle protège encore les artistes et les poètes, soutenant ainsi, voir suscitant, la création artistique et littéraire des quinze premières années du règne de François Ier. Si Louise de Savoie est l'une des personnalités les plus fascinantes de la première Modernité européenne, aucune monographie récente ne lui a été consacrée. Cet ouvrage rassemble un ensemble de textes, qui se proposent de traiter les aspects politiques, religieux et culturels de la vie de la mère de François Ier. Dans une première partie, les contributions abordent le parcours qui a mené la duchesse d'Angoulême de la Savoie à la cour de France. Un deuxième chapitre évoque Louise en tant que mère du roi et régente. La troisième section explicite le lien étroit que la comtesse et duchesse d'Angoulême a entretenu avec les arts. Enfin, l'enquête se conclue avec des études dédiées à l'intérêt de Louise pour les lettres.

This paper discussing the comparison of Korean Pop Culture and Japan Pop Culture to the youth in Malang.One of the important of this research is about public diplomacy using pop culture which creating many fans and lovers. The main purpose of the research is to show how the globalization in culture has influencing the youth in developing country like Indonesia. Malang is one of the city that have many K-Pop lovers and J-Pop lovers. This research is qualitative and using depth interview to get information from the participant as the member of the pop lovers. The result shows that both Korea and Japan's government have role on their public diplomacy by using this pop culture. They are often held the events like competition on music, dance and another shape of pop culture. J-pop has more focus on the animation (anime), cartoon (manga) and costume-player (cosplay). Whereas K-pop has more focus on the drama movie and music. From observation to the pop lovers, the J-pop lovers is more creative because they have a challenge, especially for cosplay to create their own costume to the competition. But for K-pop, they are more focused to learn and imitate the dance style of the Korean artist. But, both of them have significant influence to the options for the university students in Department of International Relations, University of Muhammadiyah Malang to choose Japanese and Koreans as their subject as the third language after Bahasa Indonesia and English.

O presente texto apresenta algumas reflexões a respeito da exposição "Isto me lembra uma história..." do jovem artista Evandro Marenda, realizado no Museu de Arte da UFPR (MusA - Universidade Federal do Paraná). Discute-se brevemente seu processo criativo, que envolve processos manuais e digitais, suas questões poéticas e a relação com uso das palavras. Destaca-se na obra do artista o uso de imagens que relacionam o cotidiano com as representações do fantástico, do mundo dos sonhos. Apresenta-se a análise de algumas obras que foram expostas com a finalidade de reconhecer suas qualidades pictóricas e apontar possíveis interpretações. Uma vez que normalmente seus trabalhos são expostos no meio digital, evidencia-se também seu deslocamento para o espaço museológico. Palavras-chave: Ilustração. Poética Visual. Exposição. Evandro Marenda AbstractThe paper presents some reflections on the exhibition "That reminds me of a story..." of the young artist Evandro Marenda, held at UFPR Museum of Art (MusA - Federal University of Parana). It discusses briefly his creative process, which involves manual and digital processes, his poetics and his relation with the use of words. It emphasizes some images in the artist's work which establishes relations between the everyday themes and the representations of the fantastic, the world of dreams. It presents the analysis of some works that were exhibited in order to recognize their pictorial qualities and point out some possible interpretation. It also presents the displacement of his production in the museum, since his work is usually shown in digital media. Keywords: Illustration. Visual Poetics. Exhibition. Evandro Marenda

Previous studies of music fan culture have largely centered on the diverse range of subcultures devoted to particular genres, groups, and stars. Where studies have moved beyond the actual music and examined the fashion, concerts, and collecting ephemera such as vinyl records and posters, they have tended to remain closely allied to notions of subcultural distinction, emphasizing hierarchies of taste. This paper shifts the focus in music fan studies beyond the appreciation of the music and discusses the popular fan practice of collecting souvenir pins produced and sold by the Hard Rock Café (HRC) within a framework of fan tourism. Traveling to and collecting unique pins from locations across the globe creates a fan dialogue that centers on tourism and the collecting practices associated with souvenir consumption. Collectors engage in practices such as blogging, travel writing, and administration that become important indicators of their particular expression of fandom: pin collecting. Membership requires both time and money; recording visits around the world and collecting unique pins from every café builds fans' cultural capital. This indicates an internationalization of popular fandom, with the Internet acting as a connective virtual space between local and national, personal and public physical space. The study of HRC pin collecting and its fan community suggests that HRC enthusiasts are not so because they enjoy rock music or follow any particular artist but due to the physical ephemera that they collect and the places and spaces they visit.

Purpose
– The purpose of this paper is to illustrate practical examples of arts projects that have successfully engaged older people in the public realm and to stimulate debate and provide practical insights for the arts, planning and social care sectors.


Design/methodology/approach
– The paper presents research gathered during an international fellowship supported by the Winston Churchill Memorial Trust to the USA, New Zealand and Australia. A selection of the projects researched are included, to illustrate three key approaches to working creatively with older people in the public realm: engaging older people in creative retelling of public histories; enabling older people to become individual artists in the public eye; creating performances by and with older people in the public realm.


Findings
– The paper finds that the arts can offer a range of practical methods for engaging older people in the public realm which have a number of potential outcomes: increasing their visibility in public life; increasing their active role in communities; and exploring important questions about the public realm and ageing.


Practical implications
– Older people can be "invisible" and feel threatened in public life and the public realm, however, arts projects can offer a number of ways to increase their visibility and agency in public spaces and services, particularly through enabling and supporting their creative expression and foregrounding communication and collaboration.


Originality/value
– The paper illustrates a number of key projects from the first major international research project into creative interventions involving older people in the public realm.

Recent scholarship has identified multiple levels of interplay between American Jews and sequential art stories (comics). Many comics are now widely understood to be artifacts of the evolving Jewish American experience; this interplay is understood to have grown out of the cultural history, sociology, and social-psychology of the Jews who created, produced, and consumed these comics. But relatively little research has been done on the appropriation and incorporation of Jewish Tradition (Heb. Mesorah ) in comics and how this incorporation mirrors the changing relationship of Jewish culture to American (predominantly Protestant) culture.

Using textual and visual criticism, supplemented by the selective application of Jewish studies, mythological studies, sociology, and feminist theory, the authors offer insight into an aspect of that appropriation by tracking a single figure from Jewish folklore that comic writers and artists have drawn on, again and again: Lilith, first wife of Adam, hypersexual transgressor, demon mother, infanticide, and evil personified. Lilith's trajectory and revision through pulp visual narratives over the past forty years sees her evolve from the traditional demon harridan into a feminist antihero, a mother seeking redemption from her daughter, and, eventually, an American superhero teammate. Her literary-visual transformations offer a pop culture perspective on Jewish Tradition's evolution from a despised to an accepted element in American culture. Moreover, the continuous hybridization of Lilith's story with Christian motifs, classical mythology, contemporary issues, and American history is a marker of a larger rapid and distinctively American assimilation of Jewish Tradition into the American intellectual and imaginative canon.