scholarly journals Prijedlog za Jacopa Amigonija (Bogorodica s Djetetem) na Visovcu

Ars Adriatica ◽  
2018 ◽  
Vol 8 (1) ◽  
pp. 153-162
Author(s):  
Sanja Cvetnić ◽  
Zoraida Demori Staničić
Keyword(s):  
Artistic Heritage ◽  
Madonna And Child

The painting Madonna and Child on the island of Visovac is comparable to the paintings produced by Jacopo Amigoni in the early 1740s, at the time when he stayed in Venice and probably established a workshop. The article explains the reasons for a preliminary attribution of this painting to the prominent painter of the Venetian and European Settecento, and its significance for the Franciscan artistic heritage in Dalmatia.

Moment's Monument

2017 ◽  
Author(s):  
Sharon Hecker
Keyword(s):  
Art World ◽  
Self And Other ◽  
Single Culture ◽  
Modern Sculpture ◽  
The World ◽  
History Of ◽  
Critical Account ◽  
Modern Experience ◽  
Artistic Heritage

Medardo Rosso (1858–1928) is one of the most original and influential figures in the history of modern art, and this book is the first historically substantiated critical account of his life and work. An innovative sculptor, photographer, and draftsman, Rosso was vital in paving the way for the transition from the academic forms of sculpture that persisted in the nineteenth century to the development of new and experimental forms in the twentieth century. His antimonumental, antiheroic work reflected alienation in the modern experience yet showed deep feeling for interactions between self and other. Rosso's art was transnational: he refused allegiance to a single culture or artistic heritage and declared himself both a citizen of the world and a maker of art without national limits. This book develops a narrative that is an alternative to the dominant Franco-centered perspective on the origin of modern sculpture in which Rodin plays the role of lone heroic innovator. Offering an original way to comprehend Rosso, the book negotiates the competing cultural imperatives of nationalism and internationalism that shaped the European art world at the fin de siècle.

The problem of woman’s emansipation in the feuilleton “Amazonia: a very inept story” by Mykola Chirsky

2020 ◽  
pp. 71-76
Author(s):  
Iryna Rusnak
Keyword(s):  
Scientific Understanding ◽  
The Other ◽  
Literary Studies ◽  
Ethical Guidelines ◽  
Compositional Structure ◽  
Urgent Task ◽  
The Subject ◽  
The One ◽  
Artistic Heritage

The author of the article analyses the problem of the female emancipation in the little-known feuilleton “Amazonia: A Very Inept Story” (1924) by Mykola Chirsky. The author determines the genre affiliation of the work and examines its compositional structure. Three parts are distinguished in the architectonics of associative feuilleton: associative conception; deployment of a “small” topic; conclusion. The author of the article clarifies the role of intertextual elements and the method of constantly switching the tone from serious to comic to reveal the thematic direction of the work. Mykola Chirsky’s interest in the problem of female emancipation is corresponded to the general mood of the era. The subject of ridicule in provocative feuilleton is the woman’s radical metamorphoses, since repulsive manifestations of emancipation becomes commonplace. At the same time, the writer shows respect for the woman, appreciates her femininity, internal and external beauty, personality. He associates the positive in women with the functions of a faithful wife, a caring mother, and a skilled housewife. In feuilleton, the writer does not bypass the problem of the modern man role in a family, but analyses the value and moral and ethical guidelines of his character. The husband’s bad habits receive a caricatured interpretation in the strange behaviour of relatives. On the one hand, the writer does not perceive the extremes brought by female emancipation, and on the other, he mercilessly criticises the male “virtues” of contemporaries far from the standard. The artistic heritage of Mykola Chirsky remains little studied. The urgent task of modern literary studies is the introduction of Mykola Chirsky’s unknown works into the scientific circulation and their thorough scientific understanding.

scholarly journals ‘To more than I can be’: A phenomenological meta-ethnography of singing groups for people with chronic obstructive pulmonary disease

2020 ◽  
pp. 136345932097852
Author(s):  
Heather Yoeli ◽  
Jane Macnaughton
Keyword(s):  
Chronic Obstructive Pulmonary Disease ◽  
Qualitative Research ◽  
Quantitative Methods ◽  
Chronic Obstructive ◽  
Obstructive Pulmonary Disease ◽  
Quantitative Evidence ◽  
Discrepancy Analysis ◽  
Healing Power ◽  
Artistic Heritage ◽  
Arts In Health

Anecdotal experience and qualitative accounts suggest that singing groups, classes or choirs specifically for people with COPD (henceforth referred to as COPD-SGs) are effective in improving health. However, this is not reflected in the quantitative evidence. This meta-ethnography deployed phenomenological methods to explore this discrepancy. Analysis identified the phenomena of being together, being uplifted and being involved as central benefits of COPD-SGs. When viewed through the phenomenological lens of body-social as distinct from body-subject and body-object, findings demonstrated that the qualitative effectiveness of COPD-SGs is greatest on a collective basis. Qualitative research into the effectiveness of COPD-SGs offers more favourable results because phenomenological approaches can identify collective benefits that quantitative methods cannot. COPD-SGs should seek to maximise these collective benefits by rediscovering their cultural and artistic heritage within the national and global Arts in Health (AiH) movement, which has long emphasised the radical creative and healing power of group activity.

Islamicate Goods in Gothic Halls: The Afterlives of Palma De Mallorca’s Islamic Past

2020 ◽  
Vol 26 (2) ◽  
pp. 128-144
Author(s):  
Doron Bauer
Keyword(s):  
Singular Point ◽  
Collective Memory ◽  
Artistic Production ◽  
Artistic Heritage ◽  
Material Evidence

Abstract Following the conquest of Islamic Majorca in 1229, the Christian settler-colonizers embraced a purist identity that rejected altogether the island’s Islamic past and its artistic heritage. Visually, this new identity found its expression in the form of a clean, restrained, and mathematical gothic style. Palma’s towering gothic monuments embodied an ideological attempt at cultural erasure that has shaped Mallorquin identity to the present day. However, through the interstices of collective memory and material evidence it becomes clear that Islam and the Islamicate lingered beyond the singular point of the conquest through the continuity of local artistic production, the arrival of new Muslim artisans, imports of Islamicate objects, and the survival of monuments. The result was a hierarchical aesthetic system with two axes: the first consisted of the superimposed monumental, public, and official Gothic, while the second consisted of portable and less durable Islamicate objects that circulated in the gothic halls.

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