scholarly journals Životopis i bibliografija prof. dr. sc. Pavuše Vežića

Ars Adriatica ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 9
Author(s):  
Emil Hilje
Keyword(s):  
Early Modern ◽  
Faculty Member ◽  
Natural Environment ◽  
Art History ◽  
Direct Contact ◽  
Early Christian ◽  
Academic Achievements ◽  
History Department ◽  
Artistic Heritage ◽  
Insight Into

Pavuša Vežić, eminent Zadar art historian and heritage conservationist was born in 1947 in Makarska. After graduating art history at former Faculty of Philosophy in Zadar, he worked on a number of important conservationist campaigns in Zadar, such as the rotund of St. Donatus, basilica of St. Thomas', Nassis, house, Citadel fort, St. Stephen's basilica, Zadar cathedral as well as on a number of important mediaeval and early modern buildings in Zadar region. These conservation and protection campaigns were accompanied by a number of academic achievements since direct contact with heritage had become the natural environment for research and insight into number of problems and questions that resulted with new comprehension and interpretations. Along with considerable conservationist career, Vežić received his PhD in 1994 at the Faculty of Philosophy in Zadar with thesis entitled The Episcopal complex in Zadar. In 1999, he joined Zadar art history Department as faculty member, where he finally received tenure in 2012. Professor Vežić's academic focus is in the early Christian and early mediaeval architecture as well as on questions of conservation and protection of heritage, in which fields he had published a number of widely recognized monographs, scientific and professional articles. Vežić's lectures are also affectionately remembered by generations of his students as well as citizens of Zadar who attended his public discourses on a variety of topics related to Zadar architectural and artistic heritage.

MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research

2016 ◽  
Vol 79 (3) ◽  
pp. 315-330 ◽  
Author(s):  
Koenraad Brosens ◽  
Klara Alen ◽  
Astrid Slegten ◽  
Fred Truyen
Keyword(s):  
Social Networks ◽  
Social Network ◽  
Early Modern ◽  
Data Model ◽  
Art History ◽  
Digital Art ◽  
Unique Data ◽  
Network Research ◽  
Custom Made

Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper FAHSNR. A case study revealing the key roles played by women in the tapestry landscape shows how this kind of slow digital art history can further our understanding of early modern creative communities and industries.

Susceptibility of the Heat-, Acid-, and Bile-Adapted Vibrio vulnificus to Lethal Low-Salinity Stress

2006 ◽  
Vol 69 (12) ◽  
pp. 2924-2928 ◽  
Author(s):  
HIN-CHUNG WONG ◽  
SHU-HUI LIU
Keyword(s):  
Stationary Phase ◽  
Salinity Stress ◽  
Natural Environment ◽  
Food Processing ◽  
Vibrio Vulnificus ◽  
Pathogenic Bacterium ◽  
Protective Response ◽  
Low Salinity ◽  
Salinity Challenge ◽  
Insight Into

As a marine pathogenic bacterium that inhabits seawater or seafood, Vibrio vulnificus encounters low salinity and other stresses in the natural environment and during food processing. This investigation explores the cross-protective response of sublethal heat-, acid-, or bile-adapted V. vulnificus YJ03 against lethal low-salinity stress. Experimental results reveal that the acid (pH 4.4)– and heat (41°C)–adapted V. vulnificus were not cross-protected against the lethal low-salinity challenge (0.04% NaCl). The bile (0.05%)–adapted exponential- and stationary-phase cells were cross-protected against low salinity, whereas low-salinity (0.12% NaCl)–adapted stationary cells were sensitized against 12% bile stress. Results of this study provide further insight into the interaction between low salinity and other common stresses in V. vulnificus.

Race and Labor in Sixteenth-Century Seville through the Prism of Accounting Books (Hijuelas) from the Reales Alcázares

2018 ◽  
Vol 71 (4) ◽  
pp. 1272-1297
Author(s):  
Lauren Beck
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Work Environment ◽  
Working Life ◽  
Material Goods ◽  
Insight Into

AbstractHijuelasfurnish scholars with more than account balances and bills paid: ledgers such as the ones that detailed the expenses of Seville’s sixteenth-century Alcázar also yield important insight into the facility’s work environment. These hardly studied ledgers describe the workers’ backgrounds, including their wages and any special accommodations they required, as well as the transaction of material goods, which in this period included slaves. The following examination ofhijuelasuncovers the racial and labor realities of a royal property. These documents also challenge established scholarly observations about working life in early modern Seville in important ways.

scholarly journals Ireland and the Old Testament: Transmission, Translation, and Unexpected Influence

2018 ◽  
Vol 5 (2) ◽  
pp. 141-169
Author(s):  
Bradford A. Anderson
Keyword(s):  
Early Modern ◽  
Old Testament ◽  
Global Scale ◽  
Religious History ◽  
Social Formation ◽  
Irish History ◽  
Early Christian ◽  
The Social ◽  
Medieval Ireland ◽  
Religious Landscape

Abstract In spite of Ireland’s rich and complex religious history, the influence of the Old Testament in the shaping of the island is often overlooked. This study traces the use and reception of the Old Testament in Ireland through the centuries, focusing on stories of transmission, translation, and unexpected influence. In early Christian and medieval Ireland, the transmission of the Old Testament in diverse contexts points to an important role for the Old Testament in relation to social formation and notions of Irish history. Moving to early modern Ireland, the story of the translation of the Old Testament into Irish demonstrates how this collection contributed to contested issues of identity in this highly-charged era. Finally, we encounter stories of unexpected influence relating to Ireland and the Old Testament in James Ussher and John Nelson Darby. In both cases, ideas concerning the Old Testament that took shape in Ireland would go on to have impact on a global scale, even if this subsequent influence was a matter of accidence. Taken together, it is argued that the Old Testament has played a much more prominent role in the shaping of the social, cultural, and religious landscape of Ireland than is often assumed.

scholarly journals “Das Bild hat einigen historischen Werth und deshalb wird es vielleicht ausgestellt …“ Zum Ausstellungsdebüt Julie Hagens in München: Das Porträt des Freundes und Mentors Moritz Rugendas

2016 ◽  
Vol 12 ◽  
pp. 29
Author(s):  
Christin Conrad
Keyword(s):  
Art History ◽  
Source Material ◽  
The Social ◽  
Educational Situation ◽  
History Of ◽  
Close Cooperation ◽  
Art Community ◽  
Unique Source ◽  
Artistic Career ◽  
Insight Into

The article deals with an encounter between Julie Hagen Schwarz, a Baltic German artist (1824–1902), and the Ausburg artist Moritz Rugendas (1802–1858), which was of great importance for the former, while she was studying in Munich around 1850. It also deals with the first presentation of her work in the Munich artist community, which resulted from cooperation with and promotion by Rugendas. Special attention is paid to the history of Hagen’s “Portrait of Moritz Rugendas in Brasilian Costume”, which originated from the artist’s close cooperation with the master Rugendas. Its presentation in the Munich and Augsburg Art Associations (Kunstverein) in October 1849 and May 1850 and the effect this had on the artistic career of Julie Hagen is examined. From this moment on, her works were discussed by colleagues and important personalities. She received many portrait commissions and her works were shown at several exhibitions in Munich and Augsburg. A discussion on the whereabouts of the still lost original painting and the provenance and authorship of a smaller copy in the collection of the Kadriorg Museum in Tallinn, which until now was identified as a “Self-Portrait” by Moritz Rugendas, follows. The attribution and the provenance of the preserved work from the Liphart collection are considered, along with the source texts, which suggest that Julie Hagen was the author and a correction of the attribution is in order.The collected findings published here were developed from the preserved letters of Julie Hagen, which, as rich and unique source material, show the artistic career of the painter. As a representative of her generation of female artists, it also provides an insight into the social context and educational situation of ambitious female painters around 1850. In connection with the correct attribution, the art-history investigation and positioning of the artist in the art community, it is hoped that the uncertainty that currently exists when evaluating the artistic performance of female painters and the low status assigned to them in exhibitions and the acquisition policy of museums will give way to growing interest, understanding and greater recognition.

scholarly journals ‘An Honest Pair of Oars’: Players, Watermen, and A Chaste Maid in Cheapside

Early Theatre ◽  
2016 ◽  
Vol 19 (2) ◽  
Author(s):  
Christi Spain-Savage
Keyword(s):  
Early Modern ◽  
Early Modern London ◽  
King's Men ◽  
Insight Into ◽  
Key Industry

<p>This essay offers insight into two playing companies’ ties to a key industry in early modern London and the ways such interconnections shaped the neighbourhoods adjacent to the Thames. It examines Touchwood Senior’s speech in Thomas Middleton’s <em>A Chaste Maid in Cheapside</em> in relation to the Swan, the Blackfriars, and watermen’s trade to argue that this moment highlights sympathies for the watermen’s plight from the Lady Elizabeth’s Men and exposes underlying tensions between the watermen and the King’s Men in 1613 and 1614.</p>

scholarly journals Tanggap Siaga Dalam Masa Pandemi Covid-19 Desa Tempursari Kabupaten Magelang

2021 ◽  
Vol 4 (2) ◽  
pp. 135-140
Author(s):  
Paramita Nuraini ◽  
Atri Pratiwi ◽  
Kevin Gusti ◽  
Novina Silvita ◽  
Arinda Fauziah
Keyword(s):  
Influenza Virus ◽  
Direct Contact ◽  
Hand Washing ◽  
Guidance And Counseling ◽  
Infected Person ◽  
Study Program ◽  
Service Activity ◽  
Insight Into ◽  
Assistant Lecturer ◽  
Virus Influenza

Abstract:Corona virus is a type of influenza virus or a common virus that causes infection of the nose, sinuses or upper throat. The Covid-19 virus in humans is most commonly transmitted from an infected person to another in a number of ways. This virus can be transmitted easily through the air by coughing and sneezing. However, it can also be through direct contact such as shaking hands, touching objects and so on. Indonesia is one of the countries where the spread of the corona 19 virus is relatively fast. This virus also causes the death of victims, therefore education is needed related to preparedness during the Covid 19 Pandemic. This activity was held in Tempursari village, Magelang Regency for 1 month (June 2020) involving 1 assistant lecturer and 4 students of the Guidance and Counseling study program. Muhammadiyah University of Magelang as a companion for counseling and simulations related to proper hand washing and the use of proper masks. This service activity is expected for the community to have insight into the dangers of Covid 19 and have skills related to proper hand washing procedures and the use of proper masks so that they can reduce the spread of Covid 19, especially in Magelang district.Keywords: alert response; covid pandemic 19; wash hands  Abstrak:Virus Corona merupakan sejenis virus influenza atau virus umum yang menyebabkan infeksi pada hidung, sinus atau tenggorokan bagian atas.Virus Covid-19 pada manusia paling umum menular dari orang yang terinfeksi ke orang lain melalui berbagai cara. Virus ini dapat menular dengan mudah melalui udara dengan batuk dan bersin. Namun, bisa juga melalui kontak langsung seperti berjabat tangan, menyentuh benda dan lain sebagainya. Indonesia merupakan salah satu negara yang penyebaran Virus Covid-19 terhitung cepat. Virus ini juga  menyebabkan kematian terhadap korban, karena itu perlu adanya edukasi terkait tanggap siaga dalam masa Pandemi Covid 19. Kegiatan ini dilaksankan di desa Tempursari Kabupaten Magelang selama 1 bulan ( juni 2020) dengan melibatkan 1 dosen pendamping dan  4 mahasiswa program studi Bimbingan dan Konseling Universitas Muhammadiyah Magelang sebagai pendamping penyuluhan dan simulasi terkait cuci tangan yang benar dan penggunaan masker yang tepat. Kegiatan pengabdian ini diharapkan masyarakat memiliki wawasan terkait bahaya covid 19 dan memiliki ketrampilan terkait tata cara cuci tangan yang benar dan penggunaan masker yang tepat sehingga dapat menekan penyebaran Covid-19 khususnya di kabupaten Magelang.Kata kunci: cuci tangan; pandemi covid-19; tanggap siaga

The Self-Aware Image: An Insight into Early Modern Meta-Painting

2000 ◽  
Vol 31 (1) ◽  
pp. 180
Author(s):  
Yael Even ◽  
Victor I. Stoichita ◽  
Anne-Marie Glasheen
Keyword(s):  
Early Modern ◽  
The Self ◽  
Insight Into

An Iskandarnāma of Nizami Produced for Ibrahim Sultan

2014 ◽  
Vol 30 (1) ◽  
pp. 235-253 ◽  
Author(s):  
Lâle Uluç
Keyword(s):  
Art History ◽  
Historical Context ◽  
Visual Data ◽  
Military Leader ◽  
Basic Task ◽  
Works Of Art ◽  
The Arts ◽  
Insight Into ◽  
The Way

This paper introduces a copy of the Iskandarnāma of Nizami dated 1435 and dedicated to the Timurid prince Ibrahim Sultan, grandson of the eponymous founder of the Timurid dynasty. It discusses the various features of the manuscript together with comparable examples from the same period, and also focuses on Abu al-Fath Ibrahim Sultan ibn Shah Rukh and his role as both a military leader and a patron of the arts during his tenure as the governor of the provinces of Fars, Kirman, and Luristan (1414–35). Utilizing the visual data together with the historical context of the period, this essay interprets one of the illustrations of the Iskandarnāma, hoping to fulfill what David Summers called “the most basic task of art history,” which he says “is to explain why works of art look the way they look.” The addition of this Iskandarnāma manuscript to the surviving corpus of works that can be connected to Ibrahim Sultan will provide a further insight into the important patronage of this Timurid prince.

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