scholarly journals Neobrađene fotografije Ive Petriciolija iz ostavštine Zbirke Petricioli

Ars Adriatica ◽  
2012 ◽  
pp. 249
Author(s):  
Suzana Valenta
Keyword(s):  
Large Collection ◽  
Photographic Material ◽  
The Public ◽  
Black And White ◽  
Left Behind ◽  
Chemical Damage ◽  
Historical Monuments ◽  
History Of Art ◽  
History Of ◽  
The University

Dr Ivo Petricioli left behind a large collection of material from his activity as a photographer. Although the majority of it is in the possession of the late Professor’s family, 85 black and white negatives on 6 x 6 rollfilms grouped in three albums are housed as part of the Petricioli Collection in the Department of History of Art of the University of Zadar. The collection was formed by Petricioli himself soon after he joined the Department as a lecturer. The collection contains different photographic material: exposures and negatives on various surfaces. The physical condition of the collection is, apart from minor mechanical and chemical damage sustained by some items, satisfactory. The initial sorting of the photographic material in the collection began in 2010. Three albums marked with the label ‘PRIVATE’ on the side attracted interest. They contain 85 black and white negatives created in the period between 1958 and 1965 during the Professor’s private travels in France and Italy. The negatives are well preserved: some have only minor scratches while some were stained through the action of residual chemicals after they were developed. Apart from excellent photographs of art-historical monuments in French and Italian towns with a pronounced note of the documentary, a number of interesting vedutes can be found among the negatives. Until now, the photographic oeuvre of Dr Ivo Petricioli had been unsorted and unpublished, leaving the public unfamiliar with his photographic works, which certainly merit attention.

Angkor Wat: A transcultural history of heritages

2021 ◽  
pp. 1-8
Author(s):  
Chanratana Chen
Keyword(s):  
Architectural History ◽  
World Heritage Site ◽  
Heritage Preservation ◽  
Black And White ◽  
History Of Research ◽  
South And Southeast Asia ◽  
Heritage Site ◽  
History Of ◽  
Historical Photographs ◽  
The University

In December 2019, Michael Falser, of the University of Heidelberg, a specialist on heritage preservation and the art and architectural history of South and Southeast Asia, published his two-volume study, Angkor Wat: A transcultural history of heritages, which he had spent almost ten years researching. The volumes cover the history of research of the most famous monument in Cambodia, Angkor Wat, the world's largest religious monument, listed by UNESCO as a World Heritage Site in 1992. The two volumes include more than 1,400 black-and-white and colour illustrations, including historical photographs and the author's own photographs, architectural plans and samples of tourist brochures and media clips about Angkor Wat, which has been represented as a national and international icon for almost 150 years, since the 1860s.

scholarly journals Curatorial Practice as Production of Visual and Spatial Knowledge: Panelists Respond

2015 ◽  
Vol 4 ◽  
pp. 158-163
Author(s):  
Alison Langmead ◽  
Dan Byers ◽  
Cynthia Morton
Keyword(s):  
Graduate Students ◽  
Information Science ◽  
Spatial Knowledge ◽  
University Of Pittsburgh ◽  
Visual Knowledge ◽  
Curatorial Practice ◽  
History Of Art ◽  
History Of ◽  
The University ◽  
Art And Architecture

Three participants in the panel “Curatorial Practice as Production of Visual and Spatial Knowledge” reflect upon the ideas raised in their discussion about curating, both in their respective fields and as a general practice. The panel was a part of Debating Visual Knowledge, a symposium organized by graduate students in Information Science and History of Art and Architecture at the University of Pittsburgh, October 3–5, 2014. A transcription of the panel is available in this issue. 

Rewriting or Reaffirming the Canon? Critical Readings of Exhibition History – Editorial

2015 ◽  
Vol 1 ◽  
Author(s):  
Linda Boersma ◽  
Patrick van Rossem
Keyword(s):  
Twentieth Century ◽  
Art History ◽  
Public Realm ◽  
The Public ◽  
Artistic Production ◽  
Exhibition History ◽  
History Of Art ◽  
History Of

In 2010, Afterall Publishers launched a series of exhibition histories wholly devoted to the study of landmark exhibitions.[1] The aim was to examine art in the context of its presentation in the public realm. In this way, research into art history shifted from the artistic production of one individual artist to the context of the presentation, and to the position, views, and convictions of the curator. In the introduction to the book, published in 2007 with its contextually pertinent title, Harald Szeemann: Individual Methodology, Florence Derieux stated: “It is now widely accepted that the art history of the second half of the twentieth century is no longer a history of artworks, but a history of exhibitions.”[2] Not everyone agrees with this, however. For example, art historian Julian Myers justifiably criticized this statement when he wrote that the history of art and exhibitions are inextricably linked.

Veronicas and Artists

2017 ◽  
Keyword(s):  
Contemporary Art ◽  
Religious Images ◽  
The Public ◽  
The Past ◽  
History Of Art ◽  
The Status ◽  
History Of ◽  
The Way ◽  
Contemporary Artists

Chapter One deals with several central issues with regard to understanding the role of religious motifs in contemporary art. Besides being a repetition of imagery from the past, religious motifs embedded in contemporary artworks become a means to problematise not only the way different periods in the history of art are delimited, but larger and seemingly more rigid distinctions as those between art and non-art images. Early religious images differ significantly from art images. The two types are regulated according to different sets of rules related to the conditions of their production, display, appreciation and the way images are invested with the status of being true or authentic instances of art or sacred images. Chapter One provides a discussion of the important motif of the image not made by an artist’s hand, or acheiropoietos, and its survival and transformation, including its traces in contemporary image-making practices. All images are the result of human making; they are fictions. The way the conditions of these fictions are negotiated, or the way the role of the maker is brought to visibility, or concealed, is a defining feature of the specific regime of representation. While the cult image concealed its maker in order to maintain its public significance, and the later art image celebrated the artist as a re-inventor of the old image, contemporary artists cite religious images in order to reflect on the very procedures that produce the public significance and status of images.

Brief aus der Schweiz

2019 ◽  
Vol 67 (2) ◽  
pp. 282-299
Author(s):  
Markus Wild
Keyword(s):  
World War Ii ◽  
Analytic Philosophy ◽  
Recent History ◽  
World War ◽  
The Public ◽  
Public Consciousness ◽  
History Of ◽  
Academic Philosophy ◽  
The Creation ◽  
The University

Abstract This letter focuses on both the recent history of academic philosophy in Switzerland and its present status. Historically, institutional self-consciousness of philosophy came to life during World War II as a reaction to the isolation of international academic life in Switzerland; moreover, the divide between philosophy in the French part and the German part of the country had to be bridged. One important instrument to achieve this end was the creation of the “Schweizerische Philosophische Gesellschaft” and its “Jahrbuch” (today: “Studia philosophica”) in 1940. At the same time the creation of the journal “Dialectica” (1947), the influence of Joseph Maria Bochensky at the University of Fribourg and Henri Lauener at the University of Berne prepared the ground for the flourishing of analytic philosophy in Switzerland. Today analytic philosophy has established a very successful academic enterprise in Switzerland without suppressing other philosophical traditions. Despite the fact that academic philosophy is somewhat present in the public, there is much more potential for actual philosophical research to enter into public consciousness. The outline sketched in this letter is, of course, a limited account of the recent history and present state of philosophy in Switzerland. There is only very little research on this topic.

scholarly journals Taking the International Spotlight: Pauline Hanson and Pauline Hanson's One Nation Party

2005 ◽  
Vol 12 (2) ◽  
pp. 73-80
Author(s):  
Kay Saunders
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Right Wing ◽  
World War ◽  
Scholarly Research ◽  
Left Behind ◽  
History Of ◽  
Right Wing Populism ◽  
The University ◽  
Public Lecture

In 2001 I was invited to give a public lecture at the Centre for the Study of the History of the Twentieth Century, a scholarly research institute within the University of Paris. The invitation was extended by Professor Stephane Dufoix, who writes on the internment of enemy aliens in World War II, one of my academic specialisations. However, I was not asked to speak about this area of expertise. Indeed, it turned out to be a ‘Don't mention the war’ event. Rather, Professor Dufoix and his colleagues were fascinated by Pauline Hanson and were interested in an Australian perspective on the rise of extreme right-wing populism and the Down Under equivalent of the French les laissés-pour-compte (‘those left behind’) or les paumés (‘the losers’).

Sharī‘a Court Registers and Land Tenure around Nineteenth-Century Damascus

1987 ◽  
Vol 21 (2) ◽  
pp. 155-169
Author(s):  
James A. Reilly
Keyword(s):  
Nineteenth Century ◽  
Seventeenth Century ◽  
Land Tenure ◽  
Economic History ◽  
Historical Documents ◽  
Large Collection ◽  
Present Information ◽  
The Social ◽  
History Of ◽  
The University

The importance of sharī‘a law-court registers as sources for the social and economic history of Syria/Bilād al-Shām in the Ottoman period has been recognized for some time. A number of studies based on them have appeared, but the registers are so vast that scholars have in fact barely begun to investigate them. The Historical Documents Center (Markaz al-Wathā’iq al-Tārīkhīya) in Damascus holds over one thousand volumes. Additional originals exist in Israel/Palestine and a large collection of Syrian and Palestinian registers is available on microfilm at the University of Jordan (Amman). Although it is difficult to use the Lebanese registers nowadays (and those of Sidon may have been destroyed) a volume of the Tripoli registers from the seventeenth century has been published in facsimile by the Lebanese University. Dearth of material, therefore, is not a problem. One obstacle facing researchers, however, is unfamiliarity with the manner in which the registers present information. Persons whose native tongue is not Arabic have the additional problem of language to overcome. Therefore, an orientation to the registers is helpful, and this article is written with that purpose in mind.

Sharp and telling

2018 ◽  
Vol 31 (3) ◽  
pp. 547-562
Author(s):  
Karin Tybjerg
Keyword(s):  
Surgical Instruments ◽  
First Century ◽  
Surgical Instrument ◽  
The Public ◽  
Public Displays ◽  
Historical Collections ◽  
Teaching Aids ◽  
Early Twenty ◽  
History Of ◽  
The University

Abstract Surgical instrument collections have been used in a multitude of ways – as tools, taxonomies, teaching aids, representation, historical highlights and public displays – and they provide a key to understanding the shifting relations between surgery, medical museums and medical history. Tracing the uses of the surgical instrument collections from the Royal Danish Academy of Surgery and the Medical Historical Museum at the University of Copenhagen reveals a network of disciplinary and institutional changes from the late nineteenth to early twenty-first century. The history of the collections maps relations between scientific and cultural historical collections and between medicine and history. In the same way as surgical instruments have connected the surgeon’s hand to the patients’ body, the surgical instrument collections connect together the public, medical practice and history.

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