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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Visual Arts</h1><div class="u-tcGrayDark">183,779 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Visual Arts</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Visual_Arts">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Visual_Arts/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Visual_Arts/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Visual_Arts/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Visual_Arts">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37831811" data-work_id="37831811" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37831811/FINDING_THE_DRUM_INSIDE_THE_ROCK_SIBERIAN_SHAMANISM_ROCK_ART_AND_ARCHETYPAL_CREATIVITY">FINDING THE DRUM INSIDE THE ROCK: SIBERIAN SHAMANISM, ROCK ART AND ARCHETYPAL CREATIVITY</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Tuesday, 27 November, at 2 pm, in the seminar room of the Prehistory and Archaeology Section of the University of Barcelona. FINDING THE DRUM INSIDE THE ROCK: SIBERIAN SHAMANISM, ROCK ART AND ARCHETYPAL CREATIVITY Andrzej Rozwadowski... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37831811" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Tuesday, 27 November, at 2 pm, in the seminar room of the Prehistory and Archaeology Section of the University of Barcelona.<br /><br />FINDING THE DRUM INSIDE THE ROCK: SIBERIAN SHAMANISM, ROCK ART AND ARCHETYPAL CREATIVITY<br /><br />Andrzej Rozwadowski<br />Professor, Adam Mickiewicz University in Poznan, Poland<br />Honorary research fellow, Rock Art Research Institute, University of the Witwatersrand, Johannesburg, South Africa<br /><br />The ancient art forms of the Minusinsk Basin in southern Siberia, in the land of the Khakas people, will be presented in this seminar. Among them, there is a unique petroglyph assemblage which includes a shaman’s representation hidden in a large crack in the rock. On the basis of the ethnography related to the shamanism of the Khakas people, it will be argued that the petroglyphs may reflect ideas associated with shamanic initiation ceremonies. The unique geographical context of this rock art will lead us to discuss more general questions related to the primal creativity inherent to shamanic experiences.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37831811" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="98edc8a607dd236db5d0f277bdd619f9" rel="nofollow" data-download="{"attachment_id":57833264,"asset_id":37831811,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57833264/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="124073" href="https://amu.academia.edu/AndrzejRozwadowski">Andrzej Rozwadowski</a><script data-card-contents-for-user="124073" type="text/json">{"id":124073,"first_name":"Andrzej","last_name":"Rozwadowski","domain_name":"amu","page_name":"AndrzejRozwadowski","display_name":"Andrzej Rozwadowski","profile_url":"https://amu.academia.edu/AndrzejRozwadowski?f_ri=26558","photo":"https://0.academia-photos.com/124073/33147/21064706/s65_andrzej.rozwadowski.jpg"}</script></span></span></li><li class="js-paper-rank-work_37831811 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37831811"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37831811, container: ".js-paper-rank-work_37831811", }); 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Among them, there is a unique petroglyph assemblage which includes a shaman’s representation hidden in a large crack in the rock. On the basis of the ethnography related to the shamanism of the Khakas people, it will be argued that the petroglyphs may reflect ideas associated with shamanic initiation ceremonies. The unique geographical context of this rock art will lead us to discuss more general questions related to the primal creativity inherent to shamanic experiences. 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(2021) Arts-based Education in Outdoor Learning. Sport and Wellbeing Press, Preston, UK. ISBN: 978-0-9955744-1-0. Prelims, Acknowledgements, Foreword, Preface (308 pages / 42 chapters)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45613371" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. Students were writing home asking parents to dig out their pencils and painting sets that they had at school, as there was now an urgent need to express an idea in a creative way. On this point, and towards a student-centred introduction to this book, I invite the reader to turn to the last chapter (chpt 40) Student Voices: living and learning through art and the outdoors which provides a sense of the endeavour, commitment and learning experiences from a selection of student authors in this volume.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45613371" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c05b38309fe65f0f603497c25a81aa9f" rel="nofollow" data-download="{"attachment_id":66100969,"asset_id":45613371,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/66100969/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4131983" href="https://uclan.academia.edu/ClivePalmer">Clive Palmer (National Teaching Fellow)</a><script data-card-contents-for-user="4131983" type="text/json">{"id":4131983,"first_name":"Clive","last_name":"Palmer (National Teaching Fellow)","domain_name":"uclan","page_name":"ClivePalmer","display_name":"Clive Palmer (National Teaching Fellow)","profile_url":"https://uclan.academia.edu/ClivePalmer?f_ri=26558","photo":"https://0.academia-photos.com/4131983/1609764/34406840/s65_clive.palmer_national_teaching_fellow_.jpg"}</script></span></span></li><li class="js-paper-rank-work_45613371 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45613371"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45613371, container: ".js-paper-rank-work_45613371", }); 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$(".js-view-count[data-work-id=45613371]").text(description); $(".js-view-count-work_45613371").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45613371").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45613371"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1" href="https://www.academia.edu/Documents/in/Creative_Writing">Creative Writing</a>, <script data-card-contents-for-ri="1" type="text/json">{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="922" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="972" href="https://www.academia.edu/Documents/in/Self_and_Identity">Self and Identity</a>, <script data-card-contents-for-ri="972" type="text/json">{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1751" href="https://www.academia.edu/Documents/in/Creativity">Creativity</a><script data-card-contents-for-ri="1751" type="text/json">{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45613371]'), work: {"id":45613371,"title":"Clive Palmer (Ed.) (2021) Arts-based Education in Outdoor Learning. Sport and Wellbeing Press, Preston, UK. ISBN: 978-0-9955744-1-0. Prelims, Acknowledgements, Foreword, Preface (308 pages / 42 chapters)","created_at":"2021-03-25T08:40:04.676-07:00","url":"https://www.academia.edu/45613371/Clive_Palmer_Ed_2021_Arts_based_Education_in_Outdoor_Learning_Sport_and_Wellbeing_Press_Preston_UK_ISBN_978_0_9955744_1_0_Prelims_Acknowledgements_Foreword_Preface_308_pages_42_chapters_?f_ri=26558","dom_id":"work_45613371","summary":"Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. Students were writing home asking parents to dig out their pencils and painting sets that they had at school, as there was now an urgent need to express an idea in a creative way. On this point, and towards a student-centred introduction to this book, I invite the reader to turn to the last chapter (chpt 40) Student Voices: living and learning through art and the outdoors which provides a sense of the endeavour, commitment and learning experiences from a selection of student authors in this volume.\r\n","downloadable_attachments":[{"id":66100969,"asset_id":45613371,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4131983,"first_name":"Clive","last_name":"Palmer (National Teaching Fellow)","domain_name":"uclan","page_name":"ClivePalmer","display_name":"Clive Palmer (National Teaching Fellow)","profile_url":"https://uclan.academia.edu/ClivePalmer?f_ri=26558","photo":"https://0.academia-photos.com/4131983/1609764/34406840/s65_clive.palmer_national_teaching_fellow_.jpg"}],"research_interests":[{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=26558","nofollow":false},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=26558","nofollow":false},{"id":972,"name":"Self and Identity","url":"https://www.academia.edu/Documents/in/Self_and_Identity?f_ri=26558","nofollow":false},{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=26558","nofollow":false},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=26558"},{"id":4019,"name":"Outdoor Recreation","url":"https://www.academia.edu/Documents/in/Outdoor_Recreation?f_ri=26558"},{"id":4052,"name":"Arts Education","url":"https://www.academia.edu/Documents/in/Arts_Education?f_ri=26558"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=26558"},{"id":10422,"name":"National Identity","url":"https://www.academia.edu/Documents/in/National_Identity?f_ri=26558"},{"id":12066,"name":"Outdoor Education","url":"https://www.academia.edu/Documents/in/Outdoor_Education?f_ri=26558"},{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=26558"},{"id":17951,"name":"Learning And Teaching In Higher Education","url":"https://www.academia.edu/Documents/in/Learning_And_Teaching_In_Higher_Education?f_ri=26558"},{"id":21220,"name":"Creative thinking","url":"https://www.academia.edu/Documents/in/Creative_thinking?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":26618,"name":"Arts-based methodologies","url":"https://www.academia.edu/Documents/in/Arts-based_methodologies?f_ri=26558"},{"id":29747,"name":"Arts-Based Research","url":"https://www.academia.edu/Documents/in/Arts-Based_Research?f_ri=26558"},{"id":49677,"name":"Arts-Based Educational Research","url":"https://www.academia.edu/Documents/in/Arts-Based_Educational_Research?f_ri=26558"},{"id":91486,"name":"Outdoor Learning","url":"https://www.academia.edu/Documents/in/Outdoor_Learning?f_ri=26558"},{"id":676320,"name":"Philospohy","url":"https://www.academia.edu/Documents/in/Philospohy?f_ri=26558"},{"id":966748,"name":"Benefits of Outdoor Learning","url":"https://www.academia.edu/Documents/in/Benefits_of_Outdoor_Learning?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_82733544" data-work_id="82733544" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/82733544/Semiotic_Modes_in_Local_Gastronomic_Discourse_A_Comparative_Analysis_of_Culinary_Shop_Signs_in_Greece_and_Cyprus">Semiotic Modes in Local Gastronomic Discourse: A Comparative Analysis of Culinary Shop Signs in Greece and Cyprus</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The paper aims to provide insights into the use of semiotic modes used in the shop signs of culinary business in Greece and Cyprus. In this context, we examine, comparatively, culinary shop signs collected from the commercial center of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_82733544" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The paper aims to provide insights into the use of semiotic modes used in the shop signs of culinary business in Greece and Cyprus. In this context, we examine, comparatively, culinary shop signs collected from the commercial center of Thessaloniki and Limassol, two European, Mediterranean cities, with a significant gastronomic tradition and a lively city center. These semiotic modes are represented in a sample which is composed of shop signs whose verbal message constitutes verbo-cultural palimpsest or is written in a local dialect, as well as of shop signs which focus on their iconic visual message using intersemiotic translation or visual rhetoric to make their message appealing for the consumers. The main conclusion is that the shop signs under scrutiny seem to be addressed mainly to the native people of the two countries which are considered in the common cultural practice much better consumers than tourists as concerns their culinary habits. The study provides also evidence for the creative use of culinary shop signs in both cities. Intracultural interpretation as well as the design of the verbal element seems to make shop signs more appealing for the consumers.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/82733544" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a70478a3814f541e74506b4c95eab7d6" rel="nofollow" data-download="{"attachment_id":88344009,"asset_id":82733544,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/88344009/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="262406" href="https://auth.academia.edu/EvangelosKourdis">Evangelos Kourdis</a><script data-card-contents-for-user="262406" type="text/json">{"id":262406,"first_name":"Evangelos","last_name":"Kourdis","domain_name":"auth","page_name":"EvangelosKourdis","display_name":"Evangelos Kourdis","profile_url":"https://auth.academia.edu/EvangelosKourdis?f_ri=26558","photo":"https://0.academia-photos.com/262406/257818/109913616/s65_evangelos.kourdis.jpg"}</script></span></span></li><li class="js-paper-rank-work_82733544 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="82733544"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 82733544, container: ".js-paper-rank-work_82733544", }); });</script></li><li class="js-percentile-work_82733544 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82733544; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_82733544"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_82733544 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="82733544"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82733544; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82733544]").text(description); $(".js-view-count-work_82733544").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_82733544").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="82733544"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="94" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5079" href="https://www.academia.edu/Documents/in/Graphic_Design">Graphic Design</a>, <script data-card-contents-for-ri="5079" type="text/json">{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11509" href="https://www.academia.edu/Documents/in/Linguistic_landscapes">Linguistic landscapes</a><script data-card-contents-for-ri="11509" type="text/json">{"id":11509,"name":"Linguistic landscapes","url":"https://www.academia.edu/Documents/in/Linguistic_landscapes?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=82733544]'), work: {"id":82733544,"title":"Semiotic Modes in Local Gastronomic Discourse: A Comparative Analysis of Culinary Shop Signs in Greece and Cyprus","created_at":"2022-07-07T00:19:33.637-07:00","url":"https://www.academia.edu/82733544/Semiotic_Modes_in_Local_Gastronomic_Discourse_A_Comparative_Analysis_of_Culinary_Shop_Signs_in_Greece_and_Cyprus?f_ri=26558","dom_id":"work_82733544","summary":" The paper aims to provide insights into the use of semiotic modes used in the shop signs of culinary business in Greece and Cyprus. In this context, we examine, comparatively, culinary shop signs collected from the commercial center of Thessaloniki and Limassol, two European, Mediterranean cities, with a significant gastronomic tradition and a lively city center. These semiotic modes are represented in a sample which is composed of shop signs whose verbal message constitutes verbo-cultural palimpsest or is written in a local dialect, as well as of shop signs which focus on their iconic visual message using intersemiotic translation or visual rhetoric to make their message appealing for the consumers. The main conclusion is that the shop signs under scrutiny seem to be addressed mainly to the native people of the two countries which are considered in the common cultural practice much better consumers than tourists as concerns their culinary habits. The study provides also evidence for the creative use of culinary shop signs in both cities. Intracultural interpretation as well as the design of the verbal element seems to make shop signs more appealing for the consumers.","downloadable_attachments":[{"id":88344009,"asset_id":82733544,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":262406,"first_name":"Evangelos","last_name":"Kourdis","domain_name":"auth","page_name":"EvangelosKourdis","display_name":"Evangelos Kourdis","profile_url":"https://auth.academia.edu/EvangelosKourdis?f_ri=26558","photo":"https://0.academia-photos.com/262406/257818/109913616/s65_evangelos.kourdis.jpg"}],"research_interests":[{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=26558","nofollow":false},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=26558","nofollow":false},{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=26558","nofollow":false},{"id":11509,"name":"Linguistic landscapes","url":"https://www.academia.edu/Documents/in/Linguistic_landscapes?f_ri=26558","nofollow":false},{"id":25286,"name":"Culinary Culture","url":"https://www.academia.edu/Documents/in/Culinary_Culture?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":51118,"name":"Culinary Arts","url":"https://www.academia.edu/Documents/in/Culinary_Arts?f_ri=26558"},{"id":147085,"name":"Typeface and Typography","url":"https://www.academia.edu/Documents/in/Typeface_and_Typography?f_ri=26558"},{"id":266387,"name":"Culinary culture and history","url":"https://www.academia.edu/Documents/in/Culinary_culture_and_history?f_ri=26558"},{"id":621252,"name":"Linguistic and Semiotic Landscapes","url":"https://www.academia.edu/Documents/in/Linguistic_and_Semiotic_Landscapes?f_ri=26558"},{"id":1001408,"name":"Gastronomic Language","url":"https://www.academia.edu/Documents/in/Gastronomic_Language?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29701128" data-work_id="29701128" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29701128/Spatial_justice_in_a_world_of_violence">Spatial justice in a world of violence</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading of the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29701128" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading<br />of the photographic series Fortunes of War, Life Day by artist Eric Lesdema,<br />Philippopoulos-Mihalopoulos is interested in how these images reveal peripheral<br />spaces at the edge of violence which impose an ethic of spatial responsibility on the<br />viewer in the act of turning away and looking elsewhere. While no acts of explicit<br />violence are shown in the images, we are left with no doubt that violence is ubiquitous<br />along the spatio-temporal continuum. This continuum of violence between<br />bodies raises questions of complicity and responsibility. Do we submit to a state<br />of affairs in which space is saturated with the everyday and immobilised violence<br />of the ‘engineered atmosphere’ – or is it also possible for bodies to withdraw from<br />the atmosphere, through ruptures and folds within the continuum? Such a notion<br />raises the ethical possibility of the ‘emergence of spatial justice’." Chris Butler and Edward Mussawir (eds)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29701128" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="686251095247a2c1c5ca9242f4758b78" rel="nofollow" data-download="{"attachment_id":50147895,"asset_id":29701128,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50147895/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3324" href="https://westminster.academia.edu/andreasPM">Andreas Philippopoulos-Mihalopoulos</a><script data-card-contents-for-user="3324" type="text/json">{"id":3324,"first_name":"Andreas","last_name":"Philippopoulos-Mihalopoulos","domain_name":"westminster","page_name":"andreasPM","display_name":"Andreas Philippopoulos-Mihalopoulos","profile_url":"https://westminster.academia.edu/andreasPM?f_ri=26558","photo":"https://0.academia-photos.com/3324/1404/17979753/s65_andreas.philippopoulos-mihalopoulos.jpg"}</script></span></span></li><li class="js-paper-rank-work_29701128 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29701128"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29701128, container: ".js-paper-rank-work_29701128", }); 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$(".js-view-count[data-work-id=29701128]").text(description); $(".js-view-count-work_29701128").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29701128").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29701128"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">37</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="261" href="https://www.academia.edu/Documents/in/Geography">Geography</a>, <script data-card-contents-for-ri="261" type="text/json">{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="262" href="https://www.academia.edu/Documents/in/Human_Geography">Human Geography</a>, <script data-card-contents-for-ri="262" type="text/json">{"id":262,"name":"Human Geography","url":"https://www.academia.edu/Documents/in/Human_Geography?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="263" href="https://www.academia.edu/Documents/in/Cultural_Geography">Cultural Geography</a>, <script data-card-contents-for-ri="263" type="text/json">{"id":263,"name":"Cultural Geography","url":"https://www.academia.edu/Documents/in/Cultural_Geography?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a><script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29701128]'), work: {"id":29701128,"title":"Spatial justice in a world of violence","created_at":"2016-11-06T11:33:34.105-08:00","url":"https://www.academia.edu/29701128/Spatial_justice_in_a_world_of_violence?f_ri=26558","dom_id":"work_29701128","summary":"\"Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading\nof the photographic series Fortunes of War, Life Day by artist Eric Lesdema,\nPhilippopoulos-Mihalopoulos is interested in how these images reveal peripheral\nspaces at the edge of violence which impose an ethic of spatial responsibility on the\nviewer in the act of turning away and looking elsewhere. While no acts of explicit\nviolence are shown in the images, we are left with no doubt that violence is ubiquitous\nalong the spatio-temporal continuum. This continuum of violence between\nbodies raises questions of complicity and responsibility. Do we submit to a state\nof affairs in which space is saturated with the everyday and immobilised violence\nof the ‘engineered atmosphere’ – or is it also possible for bodies to withdraw from\nthe atmosphere, through ruptures and folds within the continuum? Such a notion\nraises the ethical possibility of the ‘emergence of spatial justice’.\" Chris Butler and Edward Mussawir (eds)","downloadable_attachments":[{"id":50147895,"asset_id":29701128,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3324,"first_name":"Andreas","last_name":"Philippopoulos-Mihalopoulos","domain_name":"westminster","page_name":"andreasPM","display_name":"Andreas Philippopoulos-Mihalopoulos","profile_url":"https://westminster.academia.edu/andreasPM?f_ri=26558","photo":"https://0.academia-photos.com/3324/1404/17979753/s65_andreas.philippopoulos-mihalopoulos.jpg"}],"research_interests":[{"id":261,"name":"Geography","url":"https://www.academia.edu/Documents/in/Geography?f_ri=26558","nofollow":false},{"id":262,"name":"Human Geography","url":"https://www.academia.edu/Documents/in/Human_Geography?f_ri=26558","nofollow":false},{"id":263,"name":"Cultural Geography","url":"https://www.academia.edu/Documents/in/Cultural_Geography?f_ri=26558","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false},{"id":1198,"name":"Peace and Conflict Studies","url":"https://www.academia.edu/Documents/in/Peace_and_Conflict_Studies?f_ri=26558"},{"id":1562,"name":"Sociology of Law","url":"https://www.academia.edu/Documents/in/Sociology_of_Law?f_ri=26558"},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558"},{"id":1697,"name":"Violence","url":"https://www.academia.edu/Documents/in/Violence?f_ri=26558"},{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=26558"},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=26558"},{"id":3767,"name":"Law and Society","url":"https://www.academia.edu/Documents/in/Law_and_Society?f_ri=26558"},{"id":3849,"name":"Conflict","url":"https://www.academia.edu/Documents/in/Conflict?f_ri=26558"},{"id":3872,"name":"War Studies","url":"https://www.academia.edu/Documents/in/War_Studies?f_ri=26558"},{"id":5248,"name":"Legal Theory","url":"https://www.academia.edu/Documents/in/Legal_Theory?f_ri=26558"},{"id":5686,"name":"Political Violence and Terrorism","url":"https://www.academia.edu/Documents/in/Political_Violence_and_Terrorism?f_ri=26558"},{"id":6728,"name":"Philosophy Of Law","url":"https://www.academia.edu/Documents/in/Philosophy_Of_Law?f_ri=26558"},{"id":7270,"name":"Atmospheres (Architecture)","url":"https://www.academia.edu/Documents/in/Atmospheres_Architecture_?f_ri=26558"},{"id":7724,"name":"Law and Literature","url":"https://www.academia.edu/Documents/in/Law_and_Literature?f_ri=26558"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=26558"},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=26558"},{"id":15296,"name":"Philosophy of Photography","url":"https://www.academia.edu/Documents/in/Philosophy_of_Photography?f_ri=26558"},{"id":17330,"name":"Affect Theory","url":"https://www.academia.edu/Documents/in/Affect_Theory?f_ri=26558"},{"id":19022,"name":"Documentary Photography","url":"https://www.academia.edu/Documents/in/Documentary_Photography?f_ri=26558"},{"id":19915,"name":"Gilles Deleuze and Felix Guattari","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze_and_Felix_Guattari?f_ri=26558"},{"id":20079,"name":"History of photography","url":"https://www.academia.edu/Documents/in/History_of_photography?f_ri=26558"},{"id":20715,"name":"Legal Philosophy","url":"https://www.academia.edu/Documents/in/Legal_Philosophy?f_ri=26558"},{"id":21498,"name":"Affect/Emotion","url":"https://www.academia.edu/Documents/in/Affect_Emotion?f_ri=26558"},{"id":23855,"name":"Affect Studies","url":"https://www.academia.edu/Documents/in/Affect_Studies?f_ri=26558"},{"id":25618,"name":"Phenomenology of Space and Place","url":"https://www.academia.edu/Documents/in/Phenomenology_of_Space_and_Place?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=26558"},{"id":35346,"name":"Photography and War","url":"https://www.academia.edu/Documents/in/Photography_and_War?f_ri=26558"},{"id":50063,"name":"Spatial Justice","url":"https://www.academia.edu/Documents/in/Spatial_Justice?f_ri=26558"},{"id":75942,"name":"Atmosphere","url":"https://www.academia.edu/Documents/in/Atmosphere?f_ri=26558"},{"id":143965,"name":"Social Conflict","url":"https://www.academia.edu/Documents/in/Social_Conflict?f_ri=26558"},{"id":599334,"name":"Architecture and Public Spaces","url":"https://www.academia.edu/Documents/in/Architecture_and_Public_Spaces?f_ri=26558"},{"id":684966,"name":"Law and the Arts","url":"https://www.academia.edu/Documents/in/Law_and_the_Arts?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5068318" data-work_id="5068318" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5068318/Blood_and_ritual_ancient_aesthetics_in_feminist_and_social_art_in_Latin_America">Blood and ritual: ancient aesthetics in feminist and social art in Latin America</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/5068318" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4902344ba2e3e5e099d898ba1a7fa0d1" rel="nofollow" data-download="{"attachment_id":32290355,"asset_id":5068318,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/32290355/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2234238" href="https://correo.academia.edu/EmiliaQui%C3%B1onesOtal">Emilia Quiñones-Otal</a><script data-card-contents-for-user="2234238" type="text/json">{"id":2234238,"first_name":"Emilia","last_name":"Quiñones-Otal","domain_name":"correo","page_name":"EmiliaQuiñonesOtal","display_name":"Emilia Quiñones-Otal","profile_url":"https://correo.academia.edu/EmiliaQui%C3%B1onesOtal?f_ri=26558","photo":"https://0.academia-photos.com/2234238/713577/3045002/s65_emilia.otal.jpg"}</script></span></span></li><li class="js-paper-rank-work_5068318 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5068318"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 5068318, container: ".js-paper-rank-work_5068318", }); });</script></li><li class="js-percentile-work_5068318 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 5068318; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_5068318"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_5068318 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="5068318"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 5068318; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=5068318]").text(description); $(".js-view-count-work_5068318").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_5068318").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="5068318"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="945" href="https://www.academia.edu/Documents/in/Performing_Arts">Performing Arts</a>, <script data-card-contents-for-ri="945" type="text/json">{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a><script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5068318]'), work: {"id":5068318,"title":"Blood and ritual: ancient aesthetics in feminist and social art in Latin America","created_at":"2013-11-11T18:12:39.722-08:00","url":"https://www.academia.edu/5068318/Blood_and_ritual_ancient_aesthetics_in_feminist_and_social_art_in_Latin_America?f_ri=26558","dom_id":"work_5068318","summary":null,"downloadable_attachments":[{"id":32290355,"asset_id":5068318,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2234238,"first_name":"Emilia","last_name":"Quiñones-Otal","domain_name":"correo","page_name":"EmiliaQuiñonesOtal","display_name":"Emilia Quiñones-Otal","profile_url":"https://correo.academia.edu/EmiliaQui%C3%B1onesOtal?f_ri=26558","photo":"https://0.academia-photos.com/2234238/713577/3045002/s65_emilia.otal.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=26558","nofollow":false},{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=26558","nofollow":false},{"id":945,"name":"Performing Arts","url":"https://www.academia.edu/Documents/in/Performing_Arts?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_34957835" data-work_id="34957835" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/34957835/The_art_of_witness_in_US_Central_American_cultural_production_An_analysis_of_William_Archilas_The_Art_of_Exile_and_Alma_Leivas_Celdas_">The "art of witness" in US Central American cultural production: An analysis of William Archila's _The Art of Exile_ and Alma Leiva's _Celdas_</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">US Central Americans are destabilizing, reconceiving, and revitalizing the US Latina/o canon, and in doing so, they are forcing us to reconsider hegemonic ideas about Latinidad. The cultural production of Latinos/as of Central American... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_34957835" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">US Central Americans are destabilizing, reconceiving, and revitalizing the US Latina/o canon, and in doing so, they are forcing us to reconsider hegemonic ideas about Latinidad. The cultural production of Latinos/as of Central American descent has engaged in a critical denunciation of the violence that characterizes not only the history, but also the current situation, of the Central American isthmus. This essay examines the strategies used by US Central American poet William Archila and visual artist Alma Leiva to (re)construct the past and memorialize the victims of violence across Central America. I argue that Archila’s poetry collection The Art of Exile and Alma Leiva’s installation-photography series Celdas are examples of the “art of witness.” As such, their works play a key role in the reconstruction of Central American collective memory from the diaspora.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/34957835" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="16dd1c537f5ad8c90276ffce37bd952f" rel="nofollow" data-download="{"attachment_id":63112763,"asset_id":34957835,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63112763/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1399538" href="https://nd.academia.edu/MariselMoreno">Marisel Moreno</a><script data-card-contents-for-user="1399538" type="text/json">{"id":1399538,"first_name":"Marisel","last_name":"Moreno","domain_name":"nd","page_name":"MariselMoreno","display_name":"Marisel Moreno","profile_url":"https://nd.academia.edu/MariselMoreno?f_ri=26558","photo":"https://0.academia-photos.com/1399538/2049858/4464184/s65_marisel.moreno.jpg"}</script></span></span></li><li class="js-paper-rank-work_34957835 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="34957835"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 34957835, container: ".js-paper-rank-work_34957835", }); 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I argue that Archila’s poetry collection The Art of Exile and Alma Leiva’s installation-photography series Celdas are examples of the “art of witness.” As such, their works play a key role in the reconstruction of Central American collective memory from the diaspora.","downloadable_attachments":[{"id":63112763,"asset_id":34957835,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1399538,"first_name":"Marisel","last_name":"Moreno","domain_name":"nd","page_name":"MariselMoreno","display_name":"Marisel Moreno","profile_url":"https://nd.academia.edu/MariselMoreno?f_ri=26558","photo":"https://0.academia-photos.com/1399538/2049858/4464184/s65_marisel.moreno.jpg"}],"research_interests":[{"id":10,"name":"American Literature","url":"https://www.academia.edu/Documents/in/American_Literature?f_ri=26558","nofollow":false},{"id":298,"name":"Latino/A Studies","url":"https://www.academia.edu/Documents/in/Latino_A_Studies?f_ri=26558","nofollow":false},{"id":388,"name":"Latin 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Kršnjavi, Herman Bollé, and the Construction of the Greater Royal Gymnasium in Osijek )</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2649261" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0410082fc8d566faa02ed9d846aa31a5" rel="nofollow" data-download="{"attachment_id":49762857,"asset_id":2649261,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Kršnjavi","url":"https://www.academia.edu/Documents/in/Iso_Kr%C5%A1njavi?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_8347297" data-work_id="8347297" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8347297/Art_as_Document">Art as Document</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">“A common family of arguments, inspired by Wittgenstein's famous remarks about games, has it that the phenomena of art are, by their nature, too diverse to admit of the unification that a satisfactory definition strives for, or that a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_8347297" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">“A common family of arguments, inspired by Wittgenstein's famous remarks about games, has it that the phenomena of art are, by their nature, too diverse to admit of the unification that a satisfactory definition strives for, or that a definition of art, were there to be such a thing, would <br />exert a stifling influence on artistic creativity.” Thus spoke the Stanford Encyclopedia of Philosophy, ad vocem “The Definition of Art”. In what follows, I will try to show that it is not uneasy at all to find not the definition of art, but the definition of the kind of game played by art. <br />This game is the game of documents1, and artwork is a kind of document.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8347297" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="daf3477998efd811144896225f6c0930" rel="nofollow" data-download="{"attachment_id":34749765,"asset_id":8347297,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34749765/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="16729402" href="https://universitaditorino.academia.edu/MaurizioFerraris">Maurizio Ferraris</a><script data-card-contents-for-user="16729402" type="text/json">{"id":16729402,"first_name":"Maurizio","last_name":"Ferraris","domain_name":"universitaditorino","page_name":"MaurizioFerraris","display_name":"Maurizio Ferraris","profile_url":"https://universitaditorino.academia.edu/MaurizioFerraris?f_ri=26558","photo":"https://0.academia-photos.com/16729402/4575012/13254024/s65_maurizio.ferraris.png"}</script></span></span></li><li class="js-paper-rank-work_8347297 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="8347297"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 8347297, container: ".js-paper-rank-work_8347297", }); 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$(".js-view-count[data-work-id=8347297]").text(description); $(".js-view-count-work_8347297").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_8347297").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="8347297"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="805" href="https://www.academia.edu/Documents/in/Ontology">Ontology</a>, <script data-card-contents-for-ri="805" type="text/json">{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11848" href="https://www.academia.edu/Documents/in/Social_Ontology">Social Ontology</a>, <script data-card-contents-for-ri="11848" type="text/json">{"id":11848,"name":"Social Ontology","url":"https://www.academia.edu/Documents/in/Social_Ontology?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a>, <script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="630759" href="https://www.academia.edu/Documents/in/Documentality">Documentality</a><script data-card-contents-for-ri="630759" type="text/json">{"id":630759,"name":"Documentality","url":"https://www.academia.edu/Documents/in/Documentality?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=8347297]'), work: {"id":8347297,"title":"Art as Document","created_at":"2014-09-16T01:22:44.224-07:00","url":"https://www.academia.edu/8347297/Art_as_Document?f_ri=26558","dom_id":"work_8347297","summary":"“A common family of arguments, inspired by Wittgenstein's famous remarks about games, has it that the phenomena of art are, by their nature, too diverse to admit of the unification that a satisfactory definition strives for, or that a definition of art, were there to be such a thing, would\r\nexert a stifling influence on artistic creativity.” Thus spoke the Stanford Encyclopedia of Philosophy, ad vocem “The Definition of Art”. In what follows, I will try to show that it is not uneasy at all to find not the definition of art, but the definition of the kind of game played by art.\r\nThis game is the game of documents1, and artwork is a kind of document.","downloadable_attachments":[{"id":34749765,"asset_id":8347297,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":16729402,"first_name":"Maurizio","last_name":"Ferraris","domain_name":"universitaditorino","page_name":"MaurizioFerraris","display_name":"Maurizio Ferraris","profile_url":"https://universitaditorino.academia.edu/MaurizioFerraris?f_ri=26558","photo":"https://0.academia-photos.com/16729402/4575012/13254024/s65_maurizio.ferraris.png"}],"research_interests":[{"id":805,"name":"Ontology","url":"https://www.academia.edu/Documents/in/Ontology?f_ri=26558","nofollow":false},{"id":11848,"name":"Social Ontology","url":"https://www.academia.edu/Documents/in/Social_Ontology?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual 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type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14404" href="https://www.academia.edu/Documents/in/Knowledge_Systems">Knowledge Systems</a>, <script data-card-contents-for-ri="14404" type="text/json">{"id":14404,"name":"Knowledge Systems","url":"https://www.academia.edu/Documents/in/Knowledge_Systems?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14989" href="https://www.academia.edu/Documents/in/Philosophy_of_Time">Philosophy of Time</a>, <script data-card-contents-for-ri="14989" type="text/json">{"id":14989,"name":"Philosophy of Time","url":"https://www.academia.edu/Documents/in/Philosophy_of_Time?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="19161" href="https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice">Curatorial 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class="summarized">In English see here: <a href="https://www.academia.edu/72119242/In_the_Depths_of_Perception_Istv%C3%A1n_Nagy_the_Hungarian_Van_Gogh_" rel="nofollow">https://www.academia.edu/72119242/In_the_Depths_of_Perception_Istv%C3%A1n_Nagy_the_Hungarian_Van_Gogh_</a> Zárkózott, fojtott, szenvedélyes embernek írják le az emlékezők. Némelyek szerint folyton Monopol gyúrógumit,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38744999" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In English see here: <a href="https://www.academia.edu/72119242/In_the_Depths_of_Perception_Istv%C3%A1n_Nagy_the_Hungarian_Van_Gogh_" rel="nofollow">https://www.academia.edu/72119242/In_the_Depths_of_Perception_Istv%C3%A1n_Nagy_the_Hungarian_Van_Gogh_</a> <br /> <br />Zárkózott, fojtott, szenvedélyes embernek írják le az emlékezők. Némelyek szerint folyton Monopol gyúrógumit, mások szerint kenyérgalacsinokat gyúrogatott, ami, teszik hozzá, állandó idegfeszültségre vall. A tésztagyurma aztán jól jött a szén visszatörléséhez. Beszélnek a csíki székely zömök alkatáról, mélyen ülő, apró, de sötét lobogású szemeiről, átható tekintetéről "titkos méhszúrástól megdagadt szemhéjak alatt", széles arccsontjairól, s arról, hogy keveset beszélt, de akkor vulkáni törmelékként köpte ki az egymáshoz ragasztott szavakat. "Egyetsebeszélj."  <br /> <br />A nyelvteremtés közel áll a dadogáshoz, a diszlexiához, az elnémuláshoz. „Nem értem én az emberi beszédet és nem beszélem a te nyelvedet.” Újra fel kell találni a szavakat, újra fel kell találni a szórendet. A nyelvteremtésben Nagy István éppen eddig ment el. A konszenzusos, az elvárt nem korlátozta. Szándékosan eltért, ellépett a megszokott látványtól. Minden nap új szemmel látta ugyanazt a fekete tavat, ugyanazt az elnyelő szurdokot.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38744999" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dc1693f87123e373a224fee77dbe0d8e" rel="nofollow" data-download="{"attachment_id":85931532,"asset_id":38744999,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/85931532/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="94114551" href="https://mta.academia.edu/CsillaMarkoja">Csilla Markója</a><script data-card-contents-for-user="94114551" type="text/json">{"id":94114551,"first_name":"Csilla","last_name":"Markója","domain_name":"mta","page_name":"CsillaMarkoja","display_name":"Csilla Markója","profile_url":"https://mta.academia.edu/CsillaMarkoja?f_ri=26558","photo":"https://0.academia-photos.com/94114551/20682687/157837067/s65_csilla.mark_ja.jpg"}</script></span></span></li><li class="js-paper-rank-work_38744999 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38744999"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38744999, container: ".js-paper-rank-work_38744999", }); 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Némelyek szerint folyton Monopol gyúrógumit, mások szerint kenyérgalacsinokat gyúrogatott, ami, teszik hozzá, állandó idegfeszültségre vall. A tésztagyurma aztán jól jött a szén visszatörléséhez. Beszélnek a csíki székely zömök alkatáról, mélyen ülő, apró, de sötét lobogású szemeiről, átható tekintetéről \"titkos méhszúrástól megdagadt szemhéjak alatt\", széles arccsontjairól, s arról, hogy keveset beszélt, de akkor vulkáni törmelékként köpte ki az egymáshoz ragasztott szavakat. \"Egyetsebeszélj.\" \r\n\r\nA nyelvteremtés közel áll a dadogáshoz, a diszlexiához, az elnémuláshoz. „Nem értem én az emberi beszédet és nem beszélem a te nyelvedet.” Újra fel kell találni a szavakat, újra fel kell találni a szórendet. A nyelvteremtésben Nagy István éppen eddig ment el. A konszenzusos, az elvárt nem korlátozta. Szándékosan eltért, ellépett a megszokott látványtól. Minden nap új szemmel látta ugyanazt a fekete tavat, ugyanazt az elnyelő szurdokot.","downloadable_attachments":[{"id":85931532,"asset_id":38744999,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":94114551,"first_name":"Csilla","last_name":"Markója","domain_name":"mta","page_name":"CsillaMarkoja","display_name":"Csilla Markója","profile_url":"https://mta.academia.edu/CsillaMarkoja?f_ri=26558","photo":"https://0.academia-photos.com/94114551/20682687/157837067/s65_csilla.mark_ja.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=26558","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558","nofollow":false},{"id":13395,"name":"Hungarian Studies","url":"https://www.academia.edu/Documents/in/Hungarian_Studies?f_ri=26558","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=26558"},{"id":16767,"name":"Modernism","url":"https://www.academia.edu/Documents/in/Modernism?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":26910,"name":"Post-Impressionism","url":"https://www.academia.edu/Documents/in/Post-Impressionism?f_ri=26558"},{"id":81896,"name":"Hungary","url":"https://www.academia.edu/Documents/in/Hungary?f_ri=26558"},{"id":98858,"name":"Van Gogh","url":"https://www.academia.edu/Documents/in/Van_Gogh?f_ri=26558"},{"id":425791,"name":"Transsylvania","url":"https://www.academia.edu/Documents/in/Transsylvania?f_ri=26558"},{"id":556288,"name":"Georges Seurat","url":"https://www.academia.edu/Documents/in/Georges_Seurat?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4171637" data-work_id="4171637" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4171637/The_Curatorial_A_Philosophy_of_Curating_ed_Jean_Paul_Martinon">The Curatorial: A Philosophy of Curating, ed. Jean-Paul Martinon</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4171637" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4171637" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="347b45348bc161647d31bdbad20aeaf3" rel="nofollow" data-download="{"attachment_id":31674736,"asset_id":4171637,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31674736/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="71888" href="https://goldsmiths.academia.edu/JennyDoussan">Jenny Doussan</a><script data-card-contents-for-user="71888" type="text/json">{"id":71888,"first_name":"Jenny","last_name":"Doussan","domain_name":"goldsmiths","page_name":"JennyDoussan","display_name":"Jenny Doussan","profile_url":"https://goldsmiths.academia.edu/JennyDoussan?f_ri=26558","photo":"https://0.academia-photos.com/71888/19965/12602883/s65_jenny.doussan.jpg"}</script></span></span></li><li class="js-paper-rank-work_4171637 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4171637"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4171637, container: ".js-paper-rank-work_4171637", }); 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Jean-Paul Martinon","created_at":"2013-08-04T17:49:37.873-07:00","url":"https://www.academia.edu/4171637/The_Curatorial_A_Philosophy_of_Curating_ed_Jean_Paul_Martinon?f_ri=26558","dom_id":"work_4171637","summary":"This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between 'curating' and 'the curatorial'. If 'curating' is a gamut of professional practices for setting up exhibitions, then 'the curatorial' explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself. ","downloadable_attachments":[{"id":31674736,"asset_id":4171637,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":71888,"first_name":"Jenny","last_name":"Doussan","domain_name":"goldsmiths","page_name":"JennyDoussan","display_name":"Jenny Doussan","profile_url":"https://goldsmiths.academia.edu/JennyDoussan?f_ri=26558","photo":"https://0.academia-photos.com/71888/19965/12602883/s65_jenny.doussan.jpg"}],"research_interests":[{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=26558","nofollow":false},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45570940" data-work_id="45570940" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45570940/Clive_Palmer_2021_Arts_based_Education_in_Outdoor_Learning_Introduction_section_I_pp_1_16_In_Palmer_C_Ed_Arts_Based_Education_in_Outdoor_Learning_Sport_and_Wellbeing_Press_Preston_UK_Topics_pedagogy_arts_based_education_outdoor_learning_">Clive Palmer (2021) Arts-based Education in Outdoor Learning: Introduction (section I: pp.1-16). In, Palmer, C. (Ed.) Arts-Based Education in Outdoor Learning. Sport and Wellbeing Press, Preston, UK. [Topics: pedagogy, arts-based education, outdoor learning]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45570940" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45570940" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2fc9d9112afd744665dd559352b312cf" rel="nofollow" data-download="{"attachment_id":69069860,"asset_id":45570940,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/69069860/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4131983" href="https://uclan.academia.edu/ClivePalmer">Clive Palmer (National Teaching Fellow)</a><script data-card-contents-for-user="4131983" type="text/json">{"id":4131983,"first_name":"Clive","last_name":"Palmer (National Teaching Fellow)","domain_name":"uclan","page_name":"ClivePalmer","display_name":"Clive Palmer (National Teaching Fellow)","profile_url":"https://uclan.academia.edu/ClivePalmer?f_ri=26558","photo":"https://0.academia-photos.com/4131983/1609764/34406840/s65_clive.palmer_national_teaching_fellow_.jpg"}</script></span></span></li><li class="js-paper-rank-work_45570940 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45570940"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45570940, container: ".js-paper-rank-work_45570940", }); 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In, Palmer, C. (Ed.) Arts-Based Education in Outdoor Learning. Sport and Wellbeing Press, Preston, UK. [Topics: pedagogy, arts-based education, outdoor learning]","created_at":"2021-03-17T16:07:48.788-07:00","url":"https://www.academia.edu/45570940/Clive_Palmer_2021_Arts_based_Education_in_Outdoor_Learning_Introduction_section_I_pp_1_16_In_Palmer_C_Ed_Arts_Based_Education_in_Outdoor_Learning_Sport_and_Wellbeing_Press_Preston_UK_Topics_pedagogy_arts_based_education_outdoor_learning_?f_ri=26558","dom_id":"work_45570940","summary":"Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. ","downloadable_attachments":[{"id":69069860,"asset_id":45570940,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4131983,"first_name":"Clive","last_name":"Palmer (National Teaching Fellow)","domain_name":"uclan","page_name":"ClivePalmer","display_name":"Clive Palmer (National Teaching Fellow)","profile_url":"https://uclan.academia.edu/ClivePalmer?f_ri=26558","photo":"https://0.academia-photos.com/4131983/1609764/34406840/s65_clive.palmer_national_teaching_fellow_.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=26558","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=26558","nofollow":false},{"id":1751,"name":"Creativity","url":"https://www.academia.edu/Documents/in/Creativity?f_ri=26558","nofollow":false},{"id":2418,"name":"Literature","url":"https://www.academia.edu/Documents/in/Literature?f_ri=26558","nofollow":false},{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education?f_ri=26558"},{"id":3457,"name":"Learning and Teaching","url":"https://www.academia.edu/Documents/in/Learning_and_Teaching?f_ri=26558"},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=26558"},{"id":4019,"name":"Outdoor Recreation","url":"https://www.academia.edu/Documents/in/Outdoor_Recreation?f_ri=26558"},{"id":4052,"name":"Arts Education","url":"https://www.academia.edu/Documents/in/Arts_Education?f_ri=26558"},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=26558"},{"id":9491,"name":"Pedagogy","url":"https://www.academia.edu/Documents/in/Pedagogy?f_ri=26558"},{"id":12066,"name":"Outdoor Education","url":"https://www.academia.edu/Documents/in/Outdoor_Education?f_ri=26558"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=26558"},{"id":15838,"name":"Imagination","url":"https://www.academia.edu/Documents/in/Imagination?f_ri=26558"},{"id":17951,"name":"Learning And Teaching In Higher Education","url":"https://www.academia.edu/Documents/in/Learning_And_Teaching_In_Higher_Education?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":29747,"name":"Arts-Based Research","url":"https://www.academia.edu/Documents/in/Arts-Based_Research?f_ri=26558"},{"id":91486,"name":"Outdoor Learning","url":"https://www.academia.edu/Documents/in/Outdoor_Learning?f_ri=26558"},{"id":256667,"name":"Arts and Humanities","url":"https://www.academia.edu/Documents/in/Arts_and_Humanities?f_ri=26558"},{"id":966748,"name":"Benefits of Outdoor Learning","url":"https://www.academia.edu/Documents/in/Benefits_of_Outdoor_Learning?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38686102" data-work_id="38686102" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38686102/The_Contemporary_Russian_Cinema_Reader_2005_2016_Sampler_">The Contemporary Russian Cinema Reader: 2005-2016 (Sampler)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Edited by Rimgaila Salys The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38686102" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Edited by Rimgaila Salys<br /><br />The early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors’ careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.<br /><br />Learn more & purchase: <a href="https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader" rel="nofollow">https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38686102" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="31d9026ad1ed7658d7ecc59467546c8a" rel="nofollow" data-download="{"attachment_id":58767951,"asset_id":38686102,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58767951/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="32427977" href="https://independent.academia.edu/AcademicStudiesPress">Academic Studies Press</a><script data-card-contents-for-user="32427977" type="text/json">{"id":32427977,"first_name":"Academic Studies","last_name":"Press","domain_name":"independent","page_name":"AcademicStudiesPress","display_name":"Academic Studies Press","profile_url":"https://independent.academia.edu/AcademicStudiesPress?f_ri=26558","photo":"https://0.academia-photos.com/32427977/9960374/136021291/s65_academic_studies.press.png"}</script></span></span></li><li class="js-paper-rank-work_38686102 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38686102"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38686102, container: ".js-paper-rank-work_38686102", }); });</script></li><li class="js-percentile-work_38686102 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38686102; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38686102"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38686102 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38686102"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38686102; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38686102]").text(description); $(".js-view-count-work_38686102").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38686102").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38686102"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="389" href="https://www.academia.edu/Documents/in/Russian_Studies">Russian Studies</a>, <script data-card-contents-for-ri="389" type="text/json">{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a><script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38686102]'), work: {"id":38686102,"title":"The Contemporary Russian Cinema Reader: 2005-2016 (Sampler)","created_at":"2019-04-01T14:03:02.571-07:00","url":"https://www.academia.edu/38686102/The_Contemporary_Russian_Cinema_Reader_2005_2016_Sampler_?f_ri=26558","dom_id":"work_38686102","summary":"Edited by Rimgaila Salys\n\nThe early years of the twenty-first century have been an exciting transitional period in Russian cinema, as the industry recovered from the crises of the late 1990s and again stepped onto the global stage. During these years four generations, from the late Soviet directors through post-Soviet and New Russian filmmakers to the Russian millennials, have worked in varying visual styles and with diverse narrative strategies, while searching for a new cinematic language. Financing and distribution models have evolved, along with conservative politics driving Ministry of Culture regulation. This reader is intended both for contemporary Russian cinema courses and for modern Russian culture courses that emphasize film. It does not attempt to establish a canon for the period but seeks to provide undergraduate students with an introduction to significant Russian films released between 2005 and 2016 that are also available with English subtitles. The twenty-one essays on individual films provide background information on directors’ careers, detailed analyses of selected films, along with suggested further readings both in English and Russian.\n\nLearn more \u0026 purchase: https://www.academicstudiespress.com/filmandmediastudies/the-contemporary-russian-cinema-reader","downloadable_attachments":[{"id":58767951,"asset_id":38686102,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":32427977,"first_name":"Academic Studies","last_name":"Press","domain_name":"independent","page_name":"AcademicStudiesPress","display_name":"Academic Studies Press","profile_url":"https://independent.academia.edu/AcademicStudiesPress?f_ri=26558","photo":"https://0.academia-photos.com/32427977/9960374/136021291/s65_academic_studies.press.png"}],"research_interests":[{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=26558","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=26558","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=26558","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=26558"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=26558"},{"id":12874,"name":"Russian Film","url":"https://www.academia.edu/Documents/in/Russian_Film?f_ri=26558"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=26558"},{"id":20816,"name":"Art Theory and Politics","url":"https://www.academia.edu/Documents/in/Art_Theory_and_Politics?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=26558"},{"id":52277,"name":"Russian Cinema","url":"https://www.academia.edu/Documents/in/Russian_Cinema?f_ri=26558"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=26558"},{"id":54193,"name":"Art and Politics","url":"https://www.academia.edu/Documents/in/Art_and_Politics?f_ri=26558"},{"id":55485,"name":"Filmmaking","url":"https://www.academia.edu/Documents/in/Filmmaking?f_ri=26558"},{"id":58937,"name":"Slavic Studies","url":"https://www.academia.edu/Documents/in/Slavic_Studies?f_ri=26558"},{"id":80698,"name":"Films","url":"https://www.academia.edu/Documents/in/Films?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40449886" data-work_id="40449886" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40449886/The_Feral_the_Art_Object_and_the_Social_doctoral_thesis_">The Feral, the Art Object and the Social (doctoral thesis)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This practice-based doctoral research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40449886" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This practice-based doctoral research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where<br />heterogeneous elements meet: different voices expressed through the writing and images of my practice.<br /><br />In claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral<br />underclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres.<br />Mother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall.<br /><br />The feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless<br />mass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover.<br />The feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40449886" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="df5ed8ad8b092c0880cd4d07564ea62d" rel="nofollow" data-download="{"attachment_id":60713016,"asset_id":40449886,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/60713016/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9015086" href="https://camberwell-arts.academia.edu/LanaLocke">Lana Locke</a><script data-card-contents-for-user="9015086" type="text/json">{"id":9015086,"first_name":"Lana","last_name":"Locke","domain_name":"camberwell-arts","page_name":"LanaLocke","display_name":"Lana Locke","profile_url":"https://camberwell-arts.academia.edu/LanaLocke?f_ri=26558","photo":"https://0.academia-photos.com/9015086/4034280/85655230/s65_lana.locke.jpg"}</script></span></span></li><li class="js-paper-rank-work_40449886 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="40449886"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 40449886, container: ".js-paper-rank-work_40449886", }); });</script></li><li class="js-percentile-work_40449886 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 40449886; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_40449886"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_40449886 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="40449886"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 40449886; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=40449886]").text(description); $(".js-view-count-work_40449886").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_40449886").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="40449886"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2080" href="https://www.academia.edu/Documents/in/Installation_Art">Installation Art</a>, <script data-card-contents-for-ri="2080" type="text/json">{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3115" href="https://www.academia.edu/Documents/in/Posthumanism">Posthumanism</a>, <script data-card-contents-for-ri="3115" type="text/json">{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7455" href="https://www.academia.edu/Documents/in/Gentrification">Gentrification</a><script data-card-contents-for-ri="7455" type="text/json">{"id":7455,"name":"Gentrification","url":"https://www.academia.edu/Documents/in/Gentrification?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=40449886]'), work: {"id":40449886,"title":"The Feral, the Art Object and the Social (doctoral thesis)","created_at":"2019-09-26T09:13:12.998-07:00","url":"https://www.academia.edu/40449886/The_Feral_the_Art_Object_and_the_Social_doctoral_thesis_?f_ri=26558","dom_id":"work_40449886","summary":"This practice-based doctoral research explores the nature of the feral, as manifested in an object-based installation practice of contemporary art that scavenges - physically, socially and metaphorically - in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised. The page is also constructed materially, as a space where\nheterogeneous elements meet: different voices expressed through the writing and images of my practice.\n\nIn claiming the feral as a critical concept, I reject its more common, derogatory, usage. In particular, during the 2011 London riots, the former British Lord Chancellor Kenneth Clarke labelled the rioters a “feral\nunderclass”, seeking to fix them in this uncivilised, abject position. I unfix this separation, through a feral interpretation of my objects, as they interpenetrate domestic, institutional, and civilised public spheres.\nMother’s milk solidifies as plaster-filled condom bombs, at once phallic and breast-like, poised to ignite a pyre of social theory texts in a gallery project space, a former factory; haphazard conglomerations of plant matter and urban debris are strung together in bunting on an inner-city community hall.\n\nThe feral becomes here a rival concept to Julia Kristeva’s formulation of abjection, as the seeping bodily organs evoked by my objects are not defined in terms of the individual, but reflected on through the formless\nmass of the social body, the displaced undercommons of Stefano Harney and Fred Moten, the wild of Jack Halberstam, the rioters of Joshua Clover.\nThe feral has an antagonistic quality, but it cannot fit the relational models of art put forward by Chantal Mouffe and Claire Bishop that seek to civilise this antagonism. Neither can the positivity of Rosi Braidotti’s posthuman new materialism extract the hybridity of materials I use from the precariousness of the social conditions from which they are drawn. My practice, like the feral, resists these separations.","downloadable_attachments":[{"id":60713016,"asset_id":40449886,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9015086,"first_name":"Lana","last_name":"Locke","domain_name":"camberwell-arts","page_name":"LanaLocke","display_name":"Lana Locke","profile_url":"https://camberwell-arts.academia.edu/LanaLocke?f_ri=26558","photo":"https://0.academia-photos.com/9015086/4034280/85655230/s65_lana.locke.jpg"}],"research_interests":[{"id":2080,"name":"Installation Art","url":"https://www.academia.edu/Documents/in/Installation_Art?f_ri=26558","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false},{"id":3115,"name":"Posthumanism","url":"https://www.academia.edu/Documents/in/Posthumanism?f_ri=26558","nofollow":false},{"id":7455,"name":"Gentrification","url":"https://www.academia.edu/Documents/in/Gentrification?f_ri=26558","nofollow":false},{"id":12680,"name":"Georges Bataille","url":"https://www.academia.edu/Documents/in/Georges_Bataille?f_ri=26558"},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=26558"},{"id":14571,"name":"Julia Kristeva","url":"https://www.academia.edu/Documents/in/Julia_Kristeva?f_ri=26558"},{"id":16892,"name":"Street Art","url":"https://www.academia.edu/Documents/in/Street_Art?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":37438,"name":"Art Intervention","url":"https://www.academia.edu/Documents/in/Art_Intervention?f_ri=26558"},{"id":48672,"name":"Chantal Mouffe","url":"https://www.academia.edu/Documents/in/Chantal_Mouffe?f_ri=26558"},{"id":63741,"name":"Multitude","url":"https://www.academia.edu/Documents/in/Multitude?f_ri=26558"},{"id":100144,"name":"Jack Halberstam","url":"https://www.academia.edu/Documents/in/Jack_Halberstam?f_ri=26558"},{"id":107547,"name":"Agonism","url":"https://www.academia.edu/Documents/in/Agonism?f_ri=26558"},{"id":113497,"name":"Rosi Braidotti","url":"https://www.academia.edu/Documents/in/Rosi_Braidotti?f_ri=26558"},{"id":119198,"name":"Art and Gentrification","url":"https://www.academia.edu/Documents/in/Art_and_Gentrification?f_ri=26558"},{"id":375041,"name":"Antagonism","url":"https://www.academia.edu/Documents/in/Antagonism?f_ri=26558"},{"id":632564,"name":"Socially Engaged Art","url":"https://www.academia.edu/Documents/in/Socially_Engaged_Art-1?f_ri=26558"},{"id":856943,"name":"New Materialism in Contemporary art","url":"https://www.academia.edu/Documents/in/New_Materialism_in_Contemporary_art?f_ri=26558"},{"id":1346747,"name":"Undercommons","url":"https://www.academia.edu/Documents/in/Undercommons?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37444771" data-work_id="37444771" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37444771/Photography_With_Sculpture_MRes_Masters_Thesis_">Photography With Sculpture (MRes Masters Thesis)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ever since William Henry Fox Talbot used his plaster replica of the Bust of Patroclus (from 1842) as a model for the photographic invention he was developing, photography has had a long and entwined relationship with sculpture. It was not... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37444771" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ever since William Henry Fox Talbot used his plaster replica of the Bust of Patroclus (from 1842) as a model for the photographic invention he was developing, photography has had a long and entwined relationship with sculpture. It was not seen as a mortal threat (in the way that it occasioned proclamations of the death of painting), but rather a field of possibilities where the perception and meaning of sculpture could be explored. Whilst, in the 1960’s, sculpture experienced an expansion of its terms, photography was consigned to a predominantly visual and scopic functionary of documentation; capturing representations of fixed moments in time. <br /><br />This fine-art and practice-based research enquiry considers the relationships between photography: of sculpture, into sculpture and as sculpture, proposing that there may exist a preposition of ‘photography with sculpture’. As photography continues to develop its own expansion of terms, with a movement away from the digital and representational toward a materialist and phenomenological expression, this research explores if there may exist a conjoining of these expanded fields.<br /><br />With a specific focus on ephemeral sculpture and camera-less photography, the problematised question of time and the expression of the temporal are brought into sharp relief. Here a sculpture may transpose itself from a 3-dimensional to 2-dimensional form (where the “photograph” may yet retain an object status), and where the sculpture may change over time, its representation may follow, tethered, continually inviting us – after Robert Morris – into a “present-tense” of photography. In this manner new readings may become possible with implications for our understanding of both disciplines.<br /><br />With rigorous documentation and reflection in the form of research diaries, a number of artefacts have been developed combining ephemeral salt sculptures with salt photography, reducing photography to the elemental nature of light sensitised surfaces, more or less fixed, with salt, to create unstable images.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37444771" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="55f18f3dc885b50e06e775719b02aaf6" rel="nofollow" data-download="{"attachment_id":57411765,"asset_id":37444771,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57411765/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="41345044" href="https://brighton.academia.edu/PhillipHallPatch">Phillip D Hall-Patch</a><script data-card-contents-for-user="41345044" type="text/json">{"id":41345044,"first_name":"Phillip","last_name":"Hall-Patch","domain_name":"brighton","page_name":"PhillipHallPatch","display_name":"Phillip D Hall-Patch","profile_url":"https://brighton.academia.edu/PhillipHallPatch?f_ri=26558","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_37444771 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37444771"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37444771, container: ".js-paper-rank-work_37444771", }); 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As photography continues to develop its own expansion of terms, with a movement away from the digital and representational toward a materialist and phenomenological expression, this research explores if there may exist a conjoining of these expanded fields.\n\nWith a specific focus on ephemeral sculpture and camera-less photography, the problematised question of time and the expression of the temporal are brought into sharp relief. Here a sculpture may transpose itself from a 3-dimensional to 2-dimensional form (where the “photograph” may yet retain an object status), and where the sculpture may change over time, its representation may follow, tethered, continually inviting us – after Robert Morris – into a “present-tense” of photography. In this manner new readings may become possible with implications for our understanding of both disciplines.\n\nWith rigorous documentation and reflection in the form of research diaries, a number of artefacts have been developed combining ephemeral salt sculptures with salt photography, reducing photography to the elemental nature of light sensitised surfaces, more or less fixed, with salt, to create unstable images.","downloadable_attachments":[{"id":57411765,"asset_id":37444771,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":41345044,"first_name":"Phillip","last_name":"Hall-Patch","domain_name":"brighton","page_name":"PhillipHallPatch","display_name":"Phillip D Hall-Patch","profile_url":"https://brighton.academia.edu/PhillipHallPatch?f_ri=26558","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558","nofollow":false},{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=26558","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=26558","nofollow":false},{"id":22534,"name":"Practice-Based Research","url":"https://www.academia.edu/Documents/in/Practice-Based_Research?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":29747,"name":"Arts-Based Research","url":"https://www.academia.edu/Documents/in/Arts-Based_Research?f_ri=26558"},{"id":43349,"name":"Fine Arts","url":"https://www.academia.edu/Documents/in/Fine_Arts?f_ri=26558"},{"id":57669,"name":"Ephemeral art","url":"https://www.academia.edu/Documents/in/Ephemeral_art?f_ri=26558"},{"id":60259,"name":"Ephemerality","url":"https://www.academia.edu/Documents/in/Ephemerality?f_ri=26558"},{"id":312943,"name":"Sculpture and Photography","url":"https://www.academia.edu/Documents/in/Sculpture_and_Photography?f_ri=26558"},{"id":2810056,"name":"camera-less","url":"https://www.academia.edu/Documents/in/camera-less?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_69279090" data-work_id="69279090" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/69279090/PICTORIAL_ART_FOR_INTERRELIGIOUS_DIALOGUE_A_handbook_for_teaching_and_learning_interreligious_dialogue_through_pictorial_art">PICTORIAL ART FOR INTERRELIGIOUS DIALOGUE: A handbook for teaching and learning interreligious dialogue through pictorial art</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book explores the unique usage of pictorial art to undertake interreligious dialogue. It presents a practical guide to help educators learn and teach an effective and enjoyable interreligious dialogue within their academic settings.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_69279090" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book explores the unique usage of pictorial art to undertake interreligious dialogue. It presents a practical guide to help educators learn and teach an effective and enjoyable interreligious dialogue within their academic settings. It offers an alternative to prevailing approaches to interreligious dialogue through its Structured Arts-based Educational Dialogue (SAED). The SAED approach will transform pictorial art into a channel for dialogue through the artwork’s form, content, and subject matter, serving as speaking points in the dialogical process informing the life experiences and religious ideas of the dialogue partners.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/69279090" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c10d36504687c8ce8ed06a2e4102766d" rel="nofollow" data-download="{"attachment_id":79435518,"asset_id":69279090,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/79435518/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="76544390" href="https://pust.academia.edu/ChristopherLonghurst">Christopher Longhurst</a><script data-card-contents-for-user="76544390" type="text/json">{"id":76544390,"first_name":"Christopher","last_name":"Longhurst","domain_name":"pust","page_name":"ChristopherLonghurst","display_name":"Christopher Longhurst","profile_url":"https://pust.academia.edu/ChristopherLonghurst?f_ri=26558","photo":"https://0.academia-photos.com/76544390/19047385/35932418/s65_christopher.longhurst.jpg"}</script></span></span></li><li class="js-paper-rank-work_69279090 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="69279090"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 69279090, container: ".js-paper-rank-work_69279090", }); 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href="https://www.academia.edu/43383440/SOLARIGRAFIA_SOLARIGRAPHY_English_">SOLARIGRAFIA - SOLARIGRAPHY (English)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Introduction about SOLARIGRAPHY  with some examples from 2000 to 2019 (English)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43383440" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0711a5539296b5b074e084430eb47358" rel="nofollow" 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Theory","url":"https://www.academia.edu/Documents/in/Anticolonial_Theory?f_ri=26558"},{"id":483103,"name":"Anticolonialism","url":"https://www.academia.edu/Documents/in/Anticolonialism?f_ri=26558"},{"id":1125509,"name":"Postcolonialism","url":"https://www.academia.edu/Documents/in/Postcolonialism?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4847393" data-work_id="4847393" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4847393/Lucretius_in_the_Italian_Renaissance">Lucretius in the Italian Renaissance</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button 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u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5615826" href="https://uniss.academia.edu/ValentinaProsperi">Valentina Prosperi</a><script data-card-contents-for-user="5615826" type="text/json">{"id":5615826,"first_name":"Valentina","last_name":"Prosperi","domain_name":"uniss","page_name":"ValentinaProsperi","display_name":"Valentina Prosperi","profile_url":"https://uniss.academia.edu/ValentinaProsperi?f_ri=26558","photo":"https://0.academia-photos.com/5615826/5667157/32156115/s65_valentina.prosperi.jpeg"}</script></span></span></li><li class="js-paper-rank-work_4847393 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4847393"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4847393, container: ".js-paper-rank-work_4847393", }); });</script></li><li class="js-percentile-work_4847393 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4847393; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4847393"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4847393 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" 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data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a><script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4847393]'), work: {"id":4847393,"title":"Lucretius in the Italian 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29798025" data-work_id="29798025" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29798025/China_s_Terracotta_Warriors_The_First_Emperor_s_Legacy">China’s Terracotta Warriors: The First Emperor’s Legacy</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Review: "Liu Yang’s catalogue for the terracotta warriors…is an outstanding contribution to the literature on the tomb of Qin Shi Huangdi as well as a beautifully illustrated record of the seminal objects from the Terracotta Warriors... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29798025" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Review: <br />"Liu Yang’s catalogue for the terracotta warriors…is an outstanding contribution to the literature on the tomb of Qin Shi Huangdi as well as a beautifully illustrated record of the seminal objects from the Terracotta Warriors Museum. Readers will not be disappointed: China’s Terracotta Warriors is much more than yet another book about China’s most glorious excavation site"―Nancy Steinhardt, Orientations <br /> <br />"The extensively illustrated catalogue, one of the most detailed overviews of the Qin and the First Emperor yet published, is vital for anyone even remotely interested in this pivotal period in Chinese art, culture and history."―Martin Barnes Lorber, Asian Art <br /> <br />"The Minneapolis catalogue stands out as one of the most informative and groundbreaking in the mass of books on the terracotta warriors. Within the plethora of books about the First Emperor of China and the terracotta soldiers placed at his tomb, this volume is exceptional in its placing of the First Emperor in his context—a young ruler of a vassal state of questionable 'barbarian' influences forging an empire out of the ruins of an old world, a world he conquered with a invincible army and governed with an iron fist." —Chao-Hui Jenny Liu, China Review International <br /> <br />"This dazzling catalogue by Curator Liu Yang traces the development of the Qin state from the 9th century BCE to the reign of the First Emperor, through an array of sculpted works and architectural remains from Shaanxi province....Written by an internationally renowned cast of scholars, the volume features detailed chapters of manageable length, making it accessible to the undergraduates but also relevant to advanced researchers.....Overall, this is a much-needed update on a well-trodden subjects." —A.R.Miller, Choice</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29798025" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c166c1cb9df1e5733f54ad01a15aa125" rel="nofollow" data-download="{"attachment_id":50255115,"asset_id":29798025,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50255115/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25635675" href="https://independent.academia.edu/YangLiu627">Yang Liu</a><script data-card-contents-for-user="25635675" type="text/json">{"id":25635675,"first_name":"Yang","last_name":"Liu","domain_name":"independent","page_name":"YangLiu627","display_name":"Yang Liu","profile_url":"https://independent.academia.edu/YangLiu627?f_ri=26558","photo":"https://0.academia-photos.com/25635675/9744534/36289201/s65_yang.liu.jpg"}</script></span></span></li><li class="js-paper-rank-work_29798025 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29798025"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29798025, container: ".js-paper-rank-work_29798025", }); 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$(".js-view-count[data-work-id=29798025]").text(description); $(".js-view-count-work_29798025").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29798025").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29798025"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="130" href="https://www.academia.edu/Documents/in/Ancient_History">Ancient History</a>, <script data-card-contents-for-ri="130" type="text/json">{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2190" href="https://www.academia.edu/Documents/in/Chinese_Studies">Chinese Studies</a>, <script data-card-contents-for-ri="2190" type="text/json">{"id":2190,"name":"Chinese Studies","url":"https://www.academia.edu/Documents/in/Chinese_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8228" href="https://www.academia.edu/Documents/in/Chinese_Art">Chinese Art</a>, <script data-card-contents-for-ri="8228" type="text/json">{"id":8228,"name":"Chinese Art","url":"https://www.academia.edu/Documents/in/Chinese_Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16240" href="https://www.academia.edu/Documents/in/Chinese_Politics">Chinese Politics</a><script data-card-contents-for-ri="16240" type="text/json">{"id":16240,"name":"Chinese Politics","url":"https://www.academia.edu/Documents/in/Chinese_Politics?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29798025]'), work: {"id":29798025,"title":"China’s Terracotta Warriors: The First Emperor’s Legacy","created_at":"2016-11-11T10:01:20.023-08:00","url":"https://www.academia.edu/29798025/China_s_Terracotta_Warriors_The_First_Emperor_s_Legacy?f_ri=26558","dom_id":"work_29798025","summary":"Review: \r\n\"Liu Yang’s catalogue for the terracotta warriors…is an outstanding contribution to the literature on the tomb of Qin Shi Huangdi as well as a beautifully illustrated record of the seminal objects from the Terracotta Warriors Museum. Readers will not be disappointed: China’s Terracotta Warriors is much more than yet another book about China’s most glorious excavation site\"―Nancy Steinhardt, Orientations \r\n\r\n\"The extensively illustrated catalogue, one of the most detailed overviews of the Qin and the First Emperor yet published, is vital for anyone even remotely interested in this pivotal period in Chinese art, culture and history.\"―Martin Barnes Lorber, Asian Art\r\n\r\n\"The Minneapolis catalogue stands out as one of the most informative and groundbreaking in the mass of books on the terracotta warriors. Within the plethora of books about the First Emperor of China and the terracotta soldiers placed at his tomb, this volume is exceptional in its placing of the First Emperor in his context—a young ruler of a vassal state of questionable 'barbarian' influences forging an empire out of the ruins of an old world, a world he conquered with a invincible army and governed with an iron fist.\" —Chao-Hui Jenny Liu, China Review International\r\n\r\n\"This dazzling catalogue by Curator Liu Yang traces the development of the Qin state from the 9th century BCE to the reign of the First Emperor, through an array of sculpted works and architectural remains from Shaanxi province....Written by an internationally renowned cast of scholars, the volume features detailed chapters of manageable length, making it accessible to the undergraduates but also relevant to advanced researchers.....Overall, this is a much-needed update on a well-trodden subjects.\" —A.R.Miller, Choice\r\n","downloadable_attachments":[{"id":50255115,"asset_id":29798025,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25635675,"first_name":"Yang","last_name":"Liu","domain_name":"independent","page_name":"YangLiu627","display_name":"Yang Liu","profile_url":"https://independent.academia.edu/YangLiu627?f_ri=26558","photo":"https://0.academia-photos.com/25635675/9744534/36289201/s65_yang.liu.jpg"}],"research_interests":[{"id":130,"name":"Ancient History","url":"https://www.academia.edu/Documents/in/Ancient_History?f_ri=26558","nofollow":false},{"id":2190,"name":"Chinese Studies","url":"https://www.academia.edu/Documents/in/Chinese_Studies?f_ri=26558","nofollow":false},{"id":8228,"name":"Chinese Art","url":"https://www.academia.edu/Documents/in/Chinese_Art?f_ri=26558","nofollow":false},{"id":16240,"name":"Chinese Politics","url":"https://www.academia.edu/Documents/in/Chinese_Politics?f_ri=26558","nofollow":false},{"id":24516,"name":"Chinese archaeology","url":"https://www.academia.edu/Documents/in/Chinese_archaeology?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":26850,"name":"Chinese history (History)","url":"https://www.academia.edu/Documents/in/Chinese_history_History_?f_ri=26558"},{"id":56788,"name":"Pre-Qin Period in Chinese History","url":"https://www.academia.edu/Documents/in/Pre-Qin_Period_in_Chinese_History?f_ri=26558"},{"id":209188,"name":"Chinese art history","url":"https://www.academia.edu/Documents/in/Chinese_art_history?f_ri=26558"},{"id":302582,"name":"Ancient Chinese Bronzes","url":"https://www.academia.edu/Documents/in/Ancient_Chinese_Bronzes?f_ri=26558"},{"id":389437,"name":"Qin dynasty","url":"https://www.academia.edu/Documents/in/Qin_dynasty?f_ri=26558"},{"id":544013,"name":"Terracotta Warriors","url":"https://www.academia.edu/Documents/in/Terracotta_Warriors?f_ri=26558"},{"id":826689,"name":"Traditional Chinese Martial Arts","url":"https://www.academia.edu/Documents/in/Traditional_Chinese_Martial_Arts?f_ri=26558"},{"id":1941305,"name":"First Emperor of Qin","url":"https://www.academia.edu/Documents/in/First_Emperor_of_Qin?f_ri=26558"},{"id":1966722,"name":"Archaeology First Emperor Tomb","url":"https://www.academia.edu/Documents/in/Archaeology_First_Emperor_Tomb?f_ri=26558"},{"id":3002833,"name":"ancient Chinese jade artifacts","url":"https://www.academia.edu/Documents/in/ancient_Chinese_jade_artifacts?f_ri=26558"},{"id":3251959,"name":"chinese tomb figures","url":"https://www.academia.edu/Documents/in/chinese_tomb_figures?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_76841917" data-work_id="76841917" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/76841917/Abdias_do_Nascimento_e_o_Museu_de_Arte_Negra">Abdias do Nascimento e o Museu de Arte Negra</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">O artigo busca contribuir para o debate acerca dos museus, coleções e representações tendo como foco o caso do Museu de Arte Negra (MAN), organizado pelo ativista, escritor e pintor Abdias do Nascimento. Dessa maneira, apresenta uma... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_76841917" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">O artigo busca contribuir para o debate acerca dos museus, coleções e representações tendo como foco o caso do Museu de Arte Negra (MAN), organizado pelo ativista, escritor e pintor Abdias do Nascimento. Dessa maneira, apresenta uma perspectiva multidisciplinar, que envolve discussões que perpassam a história da arte, a antropologia e a sociologia, com objetivo de apresentar o impacto das relações raciais no campo da arte.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/76841917" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d7f918cb59f53f93103df13e201de5d8" rel="nofollow" data-download="{"attachment_id":84402934,"asset_id":76841917,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84402934/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34471023" href="https://uerj.academia.edu/SantosMyrian">Myrian Santos</a><script data-card-contents-for-user="34471023" type="text/json">{"id":34471023,"first_name":"Myrian","last_name":"Santos","domain_name":"uerj","page_name":"SantosMyrian","display_name":"Myrian Santos","profile_url":"https://uerj.academia.edu/SantosMyrian?f_ri=26558","photo":"https://0.academia-photos.com/34471023/27578324/25907104/s65_myrian.santos.jpg"}</script></span></span></li><li class="js-paper-rank-work_76841917 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="76841917"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 76841917, container: ".js-paper-rank-work_76841917", }); });</script></li><li class="js-percentile-work_76841917 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 76841917; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_76841917"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_76841917 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="76841917"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 76841917; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=76841917]").text(description); $(".js-view-count-work_76841917").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_76841917").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="76841917"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1657" href="https://www.academia.edu/Documents/in/Museum_Studies">Museum Studies</a>, <script data-card-contents-for-ri="1657" type="text/json">{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5453" href="https://www.academia.edu/Documents/in/Race_and_Ethnicity">Race and Ethnicity</a>, <script data-card-contents-for-ri="5453" type="text/json">{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a>, <script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1545780" href="https://www.academia.edu/Documents/in/MODOS">MODOS</a><script data-card-contents-for-ri="1545780" type="text/json">{"id":1545780,"name":"MODOS","url":"https://www.academia.edu/Documents/in/MODOS?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=76841917]'), work: {"id":76841917,"title":"Abdias do Nascimento e o Museu de Arte Negra","created_at":"2022-04-18T09:04:19.960-07:00","url":"https://www.academia.edu/76841917/Abdias_do_Nascimento_e_o_Museu_de_Arte_Negra?f_ri=26558","dom_id":"work_76841917","summary":"O artigo busca contribuir para o debate acerca dos museus, coleções e representações tendo como foco o caso do Museu de Arte Negra (MAN), organizado pelo ativista, escritor e pintor Abdias do Nascimento. Dessa maneira, apresenta uma perspectiva multidisciplinar, que envolve discussões que perpassam a história da arte, a antropologia e a sociologia, com objetivo de apresentar o impacto das relações raciais no campo da arte.","downloadable_attachments":[{"id":84402934,"asset_id":76841917,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34471023,"first_name":"Myrian","last_name":"Santos","domain_name":"uerj","page_name":"SantosMyrian","display_name":"Myrian Santos","profile_url":"https://uerj.academia.edu/SantosMyrian?f_ri=26558","photo":"https://0.academia-photos.com/34471023/27578324/25907104/s65_myrian.santos.jpg"}],"research_interests":[{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=26558","nofollow":false},{"id":5453,"name":"Race and Ethnicity","url":"https://www.academia.edu/Documents/in/Race_and_Ethnicity?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false},{"id":1545780,"name":"MODOS","url":"https://www.academia.edu/Documents/in/MODOS?f_ri=26558","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37905812" data-work_id="37905812" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37905812/MEANING_IN_PHOTOGRAPHY_Step_by_Step_Method_of_Semiological_Analysis">MEANING IN PHOTOGRAPHY, Step by Step Method of Semiological Analysis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37905812" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the emotional experience, from one and the same photo, arbitrary and absolutely subjective for each person? Most people today believe that with an expensive camera, fancy software and a few tutorials, one can consider oneself a professional photographer and, most, believe that the meaning of a photo is either completely arbitrary and subjective —the ‘everyone feels and thinks differently when they see a photo’ fallacy— or that it is intrinsic and automatic. This book proposes an interpretative method on semiology for  photography, based on different scientific findings about visual perception, form neuroscience, experimental psychology and evolutionary biology. Combining semiology with the use of photographic technique, will help photographers produce photographs with a high degree of predictability as for how the public will understand and feel the image, managing to elicit the response that the photograph is intended to produce.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37905812" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="aefd6b3bc6d138c27da2d8d82cc8efe8" rel="nofollow" data-download="{"attachment_id":57916313,"asset_id":37905812,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57916313/download_file?st=MTczMjQ1Njc2MCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="25879282" href="https://esav.academia.edu/SalvadorLeon">Salvador Leon</a><script data-card-contents-for-user="25879282" type="text/json">{"id":25879282,"first_name":"Salvador","last_name":"Leon","domain_name":"esav","page_name":"SalvadorLeon","display_name":"Salvador Leon","profile_url":"https://esav.academia.edu/SalvadorLeon?f_ri=26558","photo":"https://0.academia-photos.com/25879282/8107735/56440032/s65_salvador.leon.jpg"}</script></span></span></li><li class="js-paper-rank-work_37905812 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37905812"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37905812, container: ".js-paper-rank-work_37905812", }); });</script></li><li class="js-percentile-work_37905812 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37905812; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37905812"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37905812 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37905812"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37905812; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37905812]").text(description); $(".js-view-count-work_37905812").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37905812").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37905812"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a>, <script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10503" href="https://www.academia.edu/Documents/in/Photography_Theory">Photography Theory</a><script data-card-contents-for-ri="10503" type="text/json">{"id":10503,"name":"Photography Theory","url":"https://www.academia.edu/Documents/in/Photography_Theory?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37905812]'), work: {"id":37905812,"title":"MEANING IN PHOTOGRAPHY, Step by Step Method of Semiological Analysis","created_at":"2018-12-03T15:19:12.107-08:00","url":"https://www.academia.edu/37905812/MEANING_IN_PHOTOGRAPHY_Step_by_Step_Method_of_Semiological_Analysis?f_ri=26558","dom_id":"work_37905812","summary":"how do I know what the photograph I’m perceiving means? Why, facing certain images, do I feel scared and, with others, calm? Can I anticipate —or even manipulate— how people will react and understand the photographic image? Is the emotional experience, from one and the same photo, arbitrary and absolutely subjective for each person? Most people today believe that with an expensive camera, fancy software and a few tutorials, one can consider oneself a professional photographer and, most, believe that the meaning of a photo is either completely arbitrary and subjective —the ‘everyone feels and thinks differently when they see a photo’ fallacy— or that it is intrinsic and automatic. This book proposes an interpretative method on semiology for photography, based on different scientific findings about visual perception, form neuroscience, experimental psychology and evolutionary biology. Combining semiology with the use of photographic technique, will help photographers produce photographs with a high degree of predictability as for how the public will understand and feel the image, managing to elicit the response that the photograph is intended to produce.","downloadable_attachments":[{"id":57916313,"asset_id":37905812,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":25879282,"first_name":"Salvador","last_name":"Leon","domain_name":"esav","page_name":"SalvadorLeon","display_name":"Salvador Leon","profile_url":"https://esav.academia.edu/SalvadorLeon?f_ri=26558","photo":"https://0.academia-photos.com/25879282/8107735/56440032/s65_salvador.leon.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=26558","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558","nofollow":false},{"id":4399,"name":"Visual 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itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/2522178/Language_Development">Language Development</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2522178" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cba072102a80358e8fcbbfa997d73394" rel="nofollow" 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Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="94" href="https://www.academia.edu/Documents/in/Discourse_Analysis">Discourse Analysis</a>, <script data-card-contents-for-ri="94" type="text/json">{"id":94,"name":"Discourse Analysis","url":"https://www.academia.edu/Documents/in/Discourse_Analysis?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a><script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=2522178]'), work: {"id":2522178,"title":"Language 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/8642960/Videoarte_chileno_cuerpo_tecnolog%C3%ADa_pol%C3%ADtica">Videoarte chileno_cuerpo_tecnología_política</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/8642960" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="11fede33eb7c13d2a9fe839d1900dd22" rel="nofollow" data-download="{"attachment_id":35002447,"asset_id":8642960,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button 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class="clearfix u-pv7x u-mb0x js-work-card work_38754776" data-work_id="38754776" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38754776/Model_i_metafora_Komunikacja_wizualna_w_humanistyce_spis_tre%C5%9Bci_">Model i metafora. Komunikacja wizualna w humanistyce [spis treści]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Wykresy, schematy i diagramy nie są wyłącznie ilustracjami. Jak dowodzi Model i metafora, można je dziś uznać za niezbędne narzędzia ułatwiające tworzenie współczesnej humanistyki. Wykorzystując jednocześnie teksty i obrazy, książka w... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38754776" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Wykresy, schematy i diagramy nie są wyłącznie ilustracjami. Jak dowodzi Model i metafora, można je dziś uznać za niezbędne narzędzia ułatwiające tworzenie współczesnej humanistyki. Wykorzystując jednocześnie teksty i obrazy, książka w zwięzły sposób przedstawia szereg zagadnień istotnych dla każdego historyka, socjologa czy badacza literatury. Na Model i metaforę składają się teoretyczne podstawy myślenia obrazem, zarys historycznych relacji słowa i obrazu w humanistyce, a także praktyczne wskazówki dla tych, którzy chcieliby korzystać z obrazów w trakcie planowania i pisania tekstów. Inni czytelnicy mogą traktować tę książkę jak przewodnik, ułatwiający poruszanie się w epoce obrazów.<br />Jak przystało na książkę o komunikacji wizualnej, Model i metafora jest połączeniem obrazu i tekstu na równych prawach – zawiera ponad 150 rysunków wyjaśniających kwestie, które byłyby trudne do omówienia przy pomocy tekstu.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38754776" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0f21a83b11898d1405f7e91a8337a854" rel="nofollow" data-download="{"attachment_id":58843046,"asset_id":38754776,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58843046/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="55800126" href="https://asp.academia.edu/MajaStarakiewicz">Maja Starakiewicz</a><script data-card-contents-for-user="55800126" type="text/json">{"id":55800126,"first_name":"Maja","last_name":"Starakiewicz","domain_name":"asp","page_name":"MajaStarakiewicz","display_name":"Maja Starakiewicz","profile_url":"https://asp.academia.edu/MajaStarakiewicz?f_ri=26558","photo":"https://0.academia-photos.com/55800126/14699087/15526078/s65_maja.starakiewicz.jpg"}</script></span></span></li><li class="js-paper-rank-work_38754776 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38754776"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38754776, container: ".js-paper-rank-work_38754776", }); 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$(".js-view-count[data-work-id=38754776]").text(description); $(".js-view-count-work_38754776").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38754776").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38754776"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="236" href="https://www.academia.edu/Documents/in/Cognitive_Psychology">Cognitive Psychology</a>, <script data-card-contents-for-ri="236" type="text/json">{"id":236,"name":"Cognitive Psychology","url":"https://www.academia.edu/Documents/in/Cognitive_Psychology?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2065" href="https://www.academia.edu/Documents/in/Research_Methodology">Research Methodology</a><script data-card-contents-for-ri="2065" type="text/json">{"id":2065,"name":"Research Methodology","url":"https://www.academia.edu/Documents/in/Research_Methodology?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38754776]'), work: {"id":38754776,"title":"Model i metafora. Komunikacja wizualna w humanistyce [spis treści]","created_at":"2019-04-09T12:39:26.239-07:00","url":"https://www.academia.edu/38754776/Model_i_metafora_Komunikacja_wizualna_w_humanistyce_spis_tre%C5%9Bci_?f_ri=26558","dom_id":"work_38754776","summary":"Wykresy, schematy i diagramy nie są wyłącznie ilustracjami. Jak dowodzi Model i metafora, można je dziś uznać za niezbędne narzędzia ułatwiające tworzenie współczesnej humanistyki. Wykorzystując jednocześnie teksty i obrazy, książka w zwięzły sposób przedstawia szereg zagadnień istotnych dla każdego historyka, socjologa czy badacza literatury. Na Model i metaforę składają się teoretyczne podstawy myślenia obrazem, zarys historycznych relacji słowa i obrazu w humanistyce, a także praktyczne wskazówki dla tych, którzy chcieliby korzystać z obrazów w trakcie planowania i pisania tekstów. Inni czytelnicy mogą traktować tę książkę jak przewodnik, ułatwiający poruszanie się w epoce obrazów.\nJak przystało na książkę o komunikacji wizualnej, Model i metafora jest połączeniem obrazu i tekstu na równych prawach – zawiera ponad 150 rysunków wyjaśniających kwestie, które byłyby trudne do omówienia przy pomocy tekstu.\n","downloadable_attachments":[{"id":58843046,"asset_id":38754776,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":55800126,"first_name":"Maja","last_name":"Starakiewicz","domain_name":"asp","page_name":"MajaStarakiewicz","display_name":"Maja Starakiewicz","profile_url":"https://asp.academia.edu/MajaStarakiewicz?f_ri=26558","photo":"https://0.academia-photos.com/55800126/14699087/15526078/s65_maja.starakiewicz.jpg"}],"research_interests":[{"id":236,"name":"Cognitive Psychology","url":"https://www.academia.edu/Documents/in/Cognitive_Psychology?f_ri=26558","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":2065,"name":"Research Methodology","url":"https://www.academia.edu/Documents/in/Research_Methodology?f_ri=26558","nofollow":false},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=26558"},{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=26558"},{"id":11467,"name":"Visual Communication","url":"https://www.academia.edu/Documents/in/Visual_Communication?f_ri=26558"},{"id":21208,"name":"Methodology (Art History)","url":"https://www.academia.edu/Documents/in/Methodology_Art_History_?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_15021118" data-work_id="15021118" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/15021118/Marc_Chagall_y_los_primitivos_italianos">Marc Chagall y los primitivos italianos</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/15021118" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cff8c2f87c8cdd018479ad4bb50eba42" rel="nofollow" data-download="{"attachment_id":38509086,"asset_id":15021118,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38509086/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31457718" href="https://upla-cl.academia.edu/MagdalenaDardelC">Magdalena Dardel Coronado</a><script data-card-contents-for-user="31457718" type="text/json">{"id":31457718,"first_name":"Magdalena","last_name":"Dardel Coronado","domain_name":"upla-cl","page_name":"MagdalenaDardelC","display_name":"Magdalena Dardel Coronado","profile_url":"https://upla-cl.academia.edu/MagdalenaDardelC?f_ri=26558","photo":"https://0.academia-photos.com/31457718/9993940/151977908/s65_magdalena.dardel_c.jpg"}</script></span></span></li><li class="js-paper-rank-work_15021118 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="15021118"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 15021118, container: ".js-paper-rank-work_15021118", }); 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$(".js-view-count[data-work-id=15021118]").text(description); $(".js-view-count-work_15021118").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_15021118").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="15021118"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3840" href="https://www.academia.edu/Documents/in/Latin_American_Art">Latin American Art</a><script data-card-contents-for-ri="3840" type="text/json">{"id":3840,"name":"Latin American Art","url":"https://www.academia.edu/Documents/in/Latin_American_Art?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=15021118]'), work: {"id":15021118,"title":"Marc Chagall y los primitivos italianos","created_at":"2015-08-18T16:02:26.542-07:00","url":"https://www.academia.edu/15021118/Marc_Chagall_y_los_primitivos_italianos?f_ri=26558","dom_id":"work_15021118","summary":null,"downloadable_attachments":[{"id":38509086,"asset_id":15021118,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31457718,"first_name":"Magdalena","last_name":"Dardel Coronado","domain_name":"upla-cl","page_name":"MagdalenaDardelC","display_name":"Magdalena Dardel Coronado","profile_url":"https://upla-cl.academia.edu/MagdalenaDardelC?f_ri=26558","photo":"https://0.academia-photos.com/31457718/9993940/151977908/s65_magdalena.dardel_c.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=26558","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false},{"id":3840,"name":"Latin American Art","url":"https://www.academia.edu/Documents/in/Latin_American_Art?f_ri=26558","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=26558"},{"id":20622,"name":"Avant-Garde","url":"https://www.academia.edu/Documents/in/Avant-Garde?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_67797060 coauthored" data-work_id="67797060" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/67797060/EMPATIA_A_UMENIE">EMPATIA A UMENIE</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The etymological origin of the word empathy comes from the ancient Greek word empatheia, but we also know its Latin equivalent empathos. In both cases, the word consists of the prefix em- and the root of the word patheia or pathos. The... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_67797060" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The etymological origin of the word empathy comes from the ancient Greek word empatheia, but we also know its Latin equivalent empathos. In both cases, the word consists of the prefix em- and the root of the word patheia or pathos. The prefix em refers inward and patheia or pathos is interpreted as emotion as well as suffering. It is thus a state of empathy with the feelings, emotions, attitudes, patterns of thinking of the other. Psychology is primarily concerned with empathy, and within the definitions of empathy, it distinguishes several basic types of empathic empathy. Whether it is cognitive, emotional, somatic or spiritual empathy. However, we observe a similar interest in empathy in other humanities-oriented disciplines, for which this concept has become the subject of their research. Sociology, pedagogy, philosophy, aesthetics, cognitive sciences and, in recent years, neurosciences have begun to address empathy in more detail. Therefore, if we consider the relationship between empathy and art, then the closest discipline dealing with these relationships is aesthetics and art.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/67797060" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="32f17e2c67a65c83498df3ddae2050da" rel="nofollow" data-download="{"attachment_id":78496835,"asset_id":67797060,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/78496835/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="129590799" href="https://trunipdf.academia.edu/Katar%C3%ADnaIhringov%C3%A1">Katarína Ihringová</a><script data-card-contents-for-user="129590799" type="text/json">{"id":129590799,"first_name":"Katarína","last_name":"Ihringová","domain_name":"trunipdf","page_name":"KatarínaIhringová","display_name":"Katarína Ihringová","profile_url":"https://trunipdf.academia.edu/Katar%C3%ADnaIhringov%C3%A1?f_ri=26558","photo":"https://0.academia-photos.com/129590799/33470392/59770040/s65_katar_na.ihringov_.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-67797060">+2</span><div class="hidden js-additional-users-67797060"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/AdrianKobeti%C4%8D">Adrian Kobetič</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://unipo.academia.edu/LukasMakky">Lukas Makky</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-67797060'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-67797060').html(); 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container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_67797060 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="67797060"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 67797060; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=67797060]").text(description); $(".js-view-count-work_67797060").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_67797060").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="67797060"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a>, <script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="35332" href="https://www.academia.edu/Documents/in/Empathy_Philosophy_">Empathy (Philosophy)</a>, <script data-card-contents-for-ri="35332" type="text/json">{"id":35332,"name":"Empathy (Philosophy)","url":"https://www.academia.edu/Documents/in/Empathy_Philosophy_?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4015790" href="https://www.academia.edu/Documents/in/contemporary_Slovak_visual_art">contemporary Slovak visual art</a>, <script data-card-contents-for-ri="4015790" type="text/json">{"id":4015790,"name":"contemporary Slovak visual art","url":"https://www.academia.edu/Documents/in/contemporary_Slovak_visual_art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4075819" href="https://www.academia.edu/Documents/in/empathia">empathia</a><script data-card-contents-for-ri="4075819" type="text/json">{"id":4075819,"name":"empathia","url":"https://www.academia.edu/Documents/in/empathia?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=67797060]'), work: {"id":67797060,"title":"EMPATIA A UMENIE","created_at":"2022-01-11T01:02:02.555-08:00","url":"https://www.academia.edu/67797060/EMPATIA_A_UMENIE?f_ri=26558","dom_id":"work_67797060","summary":"The etymological origin of the word empathy comes from the ancient Greek word empatheia, but we also know its Latin equivalent empathos. In both cases, the word consists of the prefix em- and the root of the word patheia or pathos. The prefix em refers inward and patheia or pathos is interpreted as emotion as well as suffering. It is thus a state of empathy with the feelings, emotions, attitudes, patterns of thinking of the other. Psychology is primarily concerned with empathy, and within the definitions of empathy, it distinguishes several basic types of empathic empathy. Whether it is cognitive, emotional, somatic or spiritual empathy. However, we observe a similar interest in empathy in other humanities-oriented disciplines, for which this concept has become the subject of their research. Sociology, pedagogy, philosophy, aesthetics, cognitive sciences and, in recent years, neurosciences have begun to address empathy in more detail. Therefore, if we consider the relationship between empathy and art, then the closest discipline dealing with these relationships is aesthetics and art.","downloadable_attachments":[{"id":78496835,"asset_id":67797060,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":129590799,"first_name":"Katarína","last_name":"Ihringová","domain_name":"trunipdf","page_name":"KatarínaIhringová","display_name":"Katarína Ihringová","profile_url":"https://trunipdf.academia.edu/Katar%C3%ADnaIhringov%C3%A1?f_ri=26558","photo":"https://0.academia-photos.com/129590799/33470392/59770040/s65_katar_na.ihringov_.jpg"},{"id":26083342,"first_name":"Adrian","last_name":"Kobetič","domain_name":"independent","page_name":"AdrianKobetič","display_name":"Adrian Kobetič","profile_url":"https://independent.academia.edu/AdrianKobeti%C4%8D?f_ri=26558","photo":"https://0.academia-photos.com/26083342/7852562/59741228/s65_adrian.kobeti_.jpg"},{"id":1395297,"first_name":"Lukas","last_name":"Makky","domain_name":"unipo","page_name":"LukasMakky","display_name":"Lukas Makky","profile_url":"https://unipo.academia.edu/LukasMakky?f_ri=26558","photo":"https://0.academia-photos.com/1395297/1198753/34130097/s65_lukas.makky.jpg"}],"research_interests":[{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false},{"id":35332,"name":"Empathy (Philosophy)","url":"https://www.academia.edu/Documents/in/Empathy_Philosophy_?f_ri=26558","nofollow":false},{"id":4015790,"name":"contemporary Slovak visual art","url":"https://www.academia.edu/Documents/in/contemporary_Slovak_visual_art?f_ri=26558","nofollow":false},{"id":4075819,"name":"empathia","url":"https://www.academia.edu/Documents/in/empathia?f_ri=26558","nofollow":false},{"id":4075820,"name":"contemporarary art","url":"https://www.academia.edu/Documents/in/contemporarary_art?f_ri=26558"},{"id":4075821,"name":"eifuhlung","url":"https://www.academia.edu/Documents/in/eifuhlung?f_ri=26558"},{"id":4075822,"name":" eye trucking","url":"https://www.academia.edu/Documents/in/eye_trucking?f_ri=26558"},{"id":4075823,"name":"Generation 1909","url":"https://www.academia.edu/Documents/in/Generation_1909?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42797306" data-work_id="42797306" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42797306/Inclusive_Curating_in_Contemporary_Art_A_Practical_Guide">Inclusive Curating in Contemporary Art: A Practical Guide</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Recent decades have witnessed concerns over representation, inclusion, and social justice move from the margins to the centre of museum practice. While a growing number of institutions seek to reflect the diversity of their communities in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42797306" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Recent decades have witnessed concerns over representation, inclusion, and social justice move from the margins to the centre of museum practice. While a growing number of institutions seek to reflect the diversity of their communities in exhibition-making, gaps remain in understanding applied approaches and practices. This book presents the inclusion of new voices and perspectives into the museum via “inclusive curating,” a facilitated process empowering a wide demographic of people to become curators. Grounded in a case study, this book offers guidance in putting inclusive curating into action alongside a range of practical resources and key debates. Curating is often considered an exclusive job for a privileged few. But, by breaking it down using methods demonstrated throughout this book, not only does curating become more usable for more people, it also contributes to understanding the process and practices by which our cultural spaces can become democratized.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42797306" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0ea465a3f8a9a17e0522c5d9873df6a1" rel="nofollow" data-download="{"attachment_id":63992388,"asset_id":42797306,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63992388/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10511860" href="https://leeds.academia.edu/JadeFrench">Jade French</a><script data-card-contents-for-user="10511860" type="text/json">{"id":10511860,"first_name":"Jade","last_name":"French","domain_name":"leeds","page_name":"JadeFrench","display_name":"Jade French","profile_url":"https://leeds.academia.edu/JadeFrench?f_ri=26558","photo":"https://0.academia-photos.com/10511860/5055791/38848255/s65_jade.french.jpg"}</script></span></span></li><li class="js-paper-rank-work_42797306 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42797306"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42797306, container: ".js-paper-rank-work_42797306", }); 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$(".js-view-count[data-work-id=42797306]").text(description); $(".js-view-count-work_42797306").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42797306").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42797306"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1607" href="https://www.academia.edu/Documents/in/Participatory_Action_Research">Participatory Action Research</a>, <script data-card-contents-for-ri="1607" type="text/json">{"id":1607,"name":"Participatory Action Research","url":"https://www.academia.edu/Documents/in/Participatory_Action_Research?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1657" href="https://www.academia.edu/Documents/in/Museum_Studies">Museum Studies</a>, <script data-card-contents-for-ri="1657" type="text/json">{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1716" href="https://www.academia.edu/Documents/in/Action_Research">Action Research</a>, <script data-card-contents-for-ri="1716" type="text/json">{"id":1716,"name":"Action Research","url":"https://www.academia.edu/Documents/in/Action_Research?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2260" href="https://www.academia.edu/Documents/in/Disability_Studies">Disability Studies</a><script data-card-contents-for-ri="2260" type="text/json">{"id":2260,"name":"Disability Studies","url":"https://www.academia.edu/Documents/in/Disability_Studies?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42797306]'), work: {"id":42797306,"title":"Inclusive Curating in Contemporary Art: A Practical Guide","created_at":"2020-04-20T07:53:29.946-07:00","url":"https://www.academia.edu/42797306/Inclusive_Curating_in_Contemporary_Art_A_Practical_Guide?f_ri=26558","dom_id":"work_42797306","summary":"Recent decades have witnessed concerns over representation, inclusion, and social justice move from the margins to the centre of museum practice. While a growing number of institutions seek to reflect the diversity of their communities in exhibition-making, gaps remain in understanding applied approaches and practices. This book presents the inclusion of new voices and perspectives into the museum via “inclusive curating,” a facilitated process empowering a wide demographic of people to become curators. Grounded in a case study, this book offers guidance in putting inclusive curating into action alongside a range of practical resources and key debates. Curating is often considered an exclusive job for a privileged few. But, by breaking it down using methods demonstrated throughout this book, not only does curating become more usable for more people, it also contributes to understanding the process and practices by which our cultural spaces can become democratized.","downloadable_attachments":[{"id":63992388,"asset_id":42797306,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10511860,"first_name":"Jade","last_name":"French","domain_name":"leeds","page_name":"JadeFrench","display_name":"Jade French","profile_url":"https://leeds.academia.edu/JadeFrench?f_ri=26558","photo":"https://0.academia-photos.com/10511860/5055791/38848255/s65_jade.french.jpg"}],"research_interests":[{"id":1607,"name":"Participatory Action Research","url":"https://www.academia.edu/Documents/in/Participatory_Action_Research?f_ri=26558","nofollow":false},{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=26558","nofollow":false},{"id":1716,"name":"Action Research","url":"https://www.academia.edu/Documents/in/Action_Research?f_ri=26558","nofollow":false},{"id":2260,"name":"Disability Studies","url":"https://www.academia.edu/Documents/in/Disability_Studies?f_ri=26558","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558"},{"id":3470,"name":"Community Engagement \u0026 Participation","url":"https://www.academia.edu/Documents/in/Community_Engagement_and_Participation?f_ri=26558"},{"id":22832,"name":"Curatorial Practice (Art)","url":"https://www.academia.edu/Documents/in/Curatorial_Practice_Art_?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=26558"},{"id":547510,"name":"Inclusive Arts","url":"https://www.academia.edu/Documents/in/Inclusive_Arts?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35375836" data-work_id="35375836" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35375836/El_Lissitzky_his_Beat_the_Whites_with_the_Red_Wedge_and_their_Jewish_Inspirations">El Lissitzky, his Beat the Whites with the Red Wedge and their Jewish Inspirations</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35375836" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="60666f83b560492ac7e4703c00891f09" rel="nofollow" data-download="{"attachment_id":55236210,"asset_id":35375836,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55236210/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="72393167" href="https://amu.academia.edu/ArturKamczycki">Artur Kamczycki</a><script data-card-contents-for-user="72393167" type="text/json">{"id":72393167,"first_name":"Artur","last_name":"Kamczycki","domain_name":"amu","page_name":"ArturKamczycki","display_name":"Artur Kamczycki","profile_url":"https://amu.academia.edu/ArturKamczycki?f_ri=26558","photo":"https://0.academia-photos.com/72393167/18600805/18568815/s65_artur.kamczycki.jpg"}</script></span></span></li><li class="js-paper-rank-work_35375836 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35375836"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35375836, container: ".js-paper-rank-work_35375836", }); });</script></li><li class="js-percentile-work_35375836 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span 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$(".js-view-count[data-work-id=35375836]").text(description); $(".js-view-count-work_35375836").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35375836").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35375836"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="389" href="https://www.academia.edu/Documents/in/Russian_Studies">Russian Studies</a><script data-card-contents-for-ri="389" type="text/json">{"id":389,"name":"Russian Studies","url":"https://www.academia.edu/Documents/in/Russian_Studies?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40706805/FRIDA_KAHLO_S_LOST_PAINTING_THE_WOUNDED_TABLE_A_MYSTERY">FRIDA KAHLO’S LOST PAINTING, THE WOUNDED TABLE – A MYSTERY</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">A research of a story of a lost painting by Frida Kahlo</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40706805" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6022fd2df085fdab75288e11a4cab38e" rel="nofollow" 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data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book chapter, published as part of the edited volume "Empirical Comics Research (Routledge, 2018), puts forward a quantitative approach to the study of comics by introducing a stylistic analysis of a corpus of around 240 graphic novels, graphic memoirs and other non-fiction.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38721905" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="90746b49f16edefad92d7e4cdf24afbf" rel="nofollow" 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Novels","url":"https://www.academia.edu/Documents/in/Comics_and_Graphic_Novels?f_ri=26558"},{"id":49356,"name":"Theory of Comics","url":"https://www.academia.edu/Documents/in/Theory_of_Comics?f_ri=26558"},{"id":476022,"name":"Cultural analytics","url":"https://www.academia.edu/Documents/in/Cultural_analytics?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43373926" data-work_id="43373926" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43373926/Colecci%C3%B3n_Santamarca_Esplendor_barroco_De_Luca_Giordano_a_Goya_y_la_pintura_rom%C3%A1ntica_coordinaci%C3%B3n_adjunta_del_libro_cat%C3%A1logo_">Colección Santamarca. Esplendor barroco. De Luca Giordano a Goya y la pintura romántica [coordinación adjunta del libro-catálogo]</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43373926" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a5a6bda8d02213a1b874ed8b67d9cc2f" rel="nofollow" data-download="{"attachment_id":63666001,"asset_id":43373926,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63666001/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31438786" href="https://unizar.academia.edu/JavierMart%C3%ADnezMolina">Javier Martínez Molina</a><script data-card-contents-for-user="31438786" type="text/json">{"id":31438786,"first_name":"Javier","last_name":"Martínez Molina","domain_name":"unizar","page_name":"JavierMartínezMolina","display_name":"Javier Martínez Molina","profile_url":"https://unizar.academia.edu/JavierMart%C3%ADnezMolina?f_ri=26558","photo":"https://0.academia-photos.com/31438786/9282689/10349627/s65_javier.mart_nez_molina.jpg"}</script></span></span></li><li class="js-paper-rank-work_43373926 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43373926"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43373926, container: ".js-paper-rank-work_43373926", }); 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De Luca Giordano a Goya y la pintura romántica [coordinación adjunta del libro-catálogo]","created_at":"2020-06-18T02:46:58.594-07:00","url":"https://www.academia.edu/43373926/Colecci%C3%B3n_Santamarca_Esplendor_barroco_De_Luca_Giordano_a_Goya_y_la_pintura_rom%C3%A1ntica_coordinaci%C3%B3n_adjunta_del_libro_cat%C3%A1logo_?f_ri=26558","dom_id":"work_43373926","summary":null,"downloadable_attachments":[{"id":63666001,"asset_id":43373926,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31438786,"first_name":"Javier","last_name":"Martínez Molina","domain_name":"unizar","page_name":"JavierMartínezMolina","display_name":"Javier Martínez Molina","profile_url":"https://unizar.academia.edu/JavierMart%C3%ADnezMolina?f_ri=26558","photo":"https://0.academia-photos.com/31438786/9282689/10349627/s65_javier.mart_nez_molina.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=26558","nofollow":false},{"id":22407,"name":"Italian Baroque art","url":"https://www.academia.edu/Documents/in/Italian_Baroque_art?f_ri=26558","nofollow":false},{"id":22487,"name":"Spanish painting","url":"https://www.academia.edu/Documents/in/Spanish_painting?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":43349,"name":"Fine Arts","url":"https://www.academia.edu/Documents/in/Fine_Arts?f_ri=26558"},{"id":51585,"name":"Flemish Painting","url":"https://www.academia.edu/Documents/in/Flemish_Painting?f_ri=26558"},{"id":57054,"name":"ESCULTURA","url":"https://www.academia.edu/Documents/in/ESCULTURA?f_ri=26558"},{"id":74013,"name":"Artes","url":"https://www.academia.edu/Documents/in/Artes?f_ri=26558"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=26558"},{"id":99300,"name":"Pintura","url":"https://www.academia.edu/Documents/in/Pintura?f_ri=26558"},{"id":187488,"name":"Spanish Renaissance and Baroque Art","url":"https://www.academia.edu/Documents/in/Spanish_Renaissance_and_Baroque_Art?f_ri=26558"},{"id":375008,"name":"Coleccionismo y Museos","url":"https://www.academia.edu/Documents/in/Coleccionismo_y_Museos?f_ri=26558"},{"id":405596,"name":"XIX Century Spanish Painting","url":"https://www.academia.edu/Documents/in/XIX_Century_Spanish_Painting?f_ri=26558"},{"id":433238,"name":"Luca Giordano","url":"https://www.academia.edu/Documents/in/Luca_Giordano?f_ri=26558"},{"id":504247,"name":"Francisco Goya","url":"https://www.academia.edu/Documents/in/Francisco_Goya?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35900343" data-work_id="35900343" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35900343/Theory_of_Semiotics_a_study_of_advertising_image_through_it">Theory of Semiotics a study of advertising image through it.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35900343" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.<br />Through this, this essay analysis the myth of the phenomenon of the advertising in the semiotics and linguistic method to let us know how advertising creates myth by using sign and how the myth of advertising come into being might be discussed. Also, this essay seeks to find how the visual massage is formed and given meaning.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35900343" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="417311c3ff4a606618239008228f73cf" rel="nofollow" data-download="{"attachment_id":55780223,"asset_id":35900343,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55780223/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5866994" href="https://jawaharlalanehrunewdelhiindia.academia.edu/satishkumar">Satish Kumar</a><script data-card-contents-for-user="5866994" type="text/json">{"id":5866994,"first_name":"Satish","last_name":"Kumar","domain_name":"jawaharlalanehrunewdelhiindia","page_name":"satishkumar","display_name":"Satish Kumar","profile_url":"https://jawaharlalanehrunewdelhiindia.academia.edu/satishkumar?f_ri=26558","photo":"https://0.academia-photos.com/5866994/2644692/22222017/s65_satish.kumar.jpg"}</script></span></span></li><li class="js-paper-rank-work_35900343 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35900343"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35900343, container: ".js-paper-rank-work_35900343", }); 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$(".js-view-count[data-work-id=35900343]").text(description); $(".js-view-count-work_35900343").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35900343").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35900343"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="98" href="https://www.academia.edu/Documents/in/Semiotics">Semiotics</a>, <script data-card-contents-for-ri="98" type="text/json">{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3903" href="https://www.academia.edu/Documents/in/Cultural_Semiotics">Cultural Semiotics</a>, <script data-card-contents-for-ri="3903" type="text/json">{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4399" href="https://www.academia.edu/Documents/in/Visual_Semiotics">Visual Semiotics</a><script data-card-contents-for-ri="4399" type="text/json">{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35900343]'), work: {"id":35900343,"title":"Theory of Semiotics a study of advertising image through it.","created_at":"2018-02-12T02:07:59.395-08:00","url":"https://www.academia.edu/35900343/Theory_of_Semiotics_a_study_of_advertising_image_through_it?f_ri=26558","dom_id":"work_35900343","summary":"Semiotics is the realm of research that studies sign as an important part of cultural life and message. During the semiotics, we can identify the culture and its reality by an explanation of sign, during the system of signification.\nThrough this, this essay analysis the myth of the phenomenon of the advertising in the semiotics and linguistic method to let us know how advertising creates myth by using sign and how the myth of advertising come into being might be discussed. Also, this essay seeks to find how the visual massage is formed and given meaning.","downloadable_attachments":[{"id":55780223,"asset_id":35900343,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5866994,"first_name":"Satish","last_name":"Kumar","domain_name":"jawaharlalanehrunewdelhiindia","page_name":"satishkumar","display_name":"Satish Kumar","profile_url":"https://jawaharlalanehrunewdelhiindia.academia.edu/satishkumar?f_ri=26558","photo":"https://0.academia-photos.com/5866994/2644692/22222017/s65_satish.kumar.jpg"}],"research_interests":[{"id":98,"name":"Semiotics","url":"https://www.academia.edu/Documents/in/Semiotics?f_ri=26558","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false},{"id":3903,"name":"Cultural Semiotics","url":"https://www.academia.edu/Documents/in/Cultural_Semiotics?f_ri=26558","nofollow":false},{"id":4399,"name":"Visual Semiotics","url":"https://www.academia.edu/Documents/in/Visual_Semiotics?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32461384" data-work_id="32461384" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32461384/Heroization_and_International_Reception_of_Mithila_Paintings_Constructing_Women_Painters_Figure_in_William_s_Archer_s_and_Yves_V%C3%A9quaud_s_Writings">Heroization and International Reception of Mithila Paintings Constructing Women (Painters) Figure in William’s Archer’s and Yves Véquaud’s Writings</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Derived from Maithil practices and festivals and assumed to protect the household, the Madhubani Paintings spread since the 1960s in India and abroad. Transferred on paper in order to be commercialized, they undergo important changes. I... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32461384" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Derived from Maithil practices and festivals and assumed to protect the household, the Madhubani Paintings spread since the 1960s in India and abroad. Transferred on paper in order to be commercialized, they undergo important changes. I will focus on the reception history of Mithila paintings through two Western mediators, who each declared themselves to be the discoverers of these paintings: one is British, William Archer (1907- 1979); the other French, Yves Véquaud (1938-2000). They bear witness to an international reception which underlines a particular aspect of the worldwide connected and shared histories of Bihar. <br />After being appointed officer of the Indian Civil Service in Bihar, Archer publishes in 1949 the article “Maithil Painting”. This is a first moment in the reception history of these paintings. His writings show a universal aesthetic, based on psychoanalyze, surrealism and an organic vision of art. <br />The hippie “counter-culture” renews enchanted orientalist and romantic visions of a South Asian universe presumed to be spiritual, pantheist and sensorial. Followed on the heels of the sixties, indophily appears a particularly favourable, moment - or kairos - in the reception of Maithil works. It parallels the internationalization of its actors: Erika Moser Schmitt in Germany, Tokio Hasegawa in Japan, Raymond and Naomi Owens as well as David Szanton in United States and Yves Véquaud in France. The writings of the latter mingled an aptitude to capture the “air du temps” with a real interest in India and adhered to the values of the counter-culture. He is today mostly known for his essays on Mithila paintings. The Mithila Art is published in 1976, then translated in 1977 into English and German. In 1974, he co-directed the documentary Mithila. During a period of about ten years, he exhibited his collection of Mithila paintings in France and abroad (in particular in Paris, Musée de l’Homme, Musée des arts Décoratifs...). <br />In 1970, Véquaud discovered the Mithila paintings in New-Delhi thanks to the museologist Ratna Fabri. He remained in India for two years, went to Madhubani and met some village painters. In his writings, the Maithil women painters are presented as charismatic figures, between holiness and genius. In 1973, Sita Devi “appears to him as a saint”, withdrawn from the world, “in a inner-peace and trust refuge which nothing could disturb". From the author’s standpoint, the talent of these painters, neo-tantric muses presumed to create only when in a yogic state, is compared with that of an exorcist. This vision of the prophetic artist, fluctuating between the christic figure of the saviour and the holy icon, also bears witness to the transformation of the status of the artist since the 19th Century in the West and to the appearance of a ”vocational regime” (Nathalie Heinich). These charismatic figures call to mind the appearance of a conception of the artist as the author of innovative works, and living a singular life. Like Braque and Rouault, the Maithil women painters would so be transformed into figures of legend, likely to guide the work of their followers in their efforts to become an artist. These prophetic artists would become a modern incarnation of holiness. In 1968, Yves Véquaud describes Mozart and Van Gogh as saints, whose example overwhelms. From his standpoint, the prophetic Maithil artists are devoid of the overwhelming heroization that affects Western artists. They would correspond to his promotion of creative spontaneity and a present freed from the burden of the past, in quest of eternal moments. <br />In Yves Véquaud’s conception, the women painters swing between an ideal of devout humility and religious immortality. In 1973, Sita Devi is described as the one who “knew all the honours” and yet remained “humble and loving”. From the westernized standpoint of Véquaud, the artistic success of Maithil painters may be explained by their desire for singularity and timelessness in their results. This involves both the personalization of means, namely the invention of new paths, as well as the depersonalization of the ends of the success, namely the creation of objects crystallizing values recognized beyond the author. This contingency was traditionally reserved for saints and heroes. <br />His admiration for these artists assumed an almost devotional character. Following the example of the canonization of Western art, Yves Véquaud established a relationship between the Maithil pictorial phenomenon and a religious phenomenon, the neo-tantrism. His behaviour was almost that of a believer. He set up his exhibitions with a nearly sacerdotal and proselytizing diligence. His hermeneutics of the works is almost theological. The conditions in which the paintings were produced has been neglected. The art of Mithila is described as a (wedding) liturgy ; the paintbrush becomes the tool of prayer. The biographies of the painters appear as a “golden legend”. Nevertheless, these exegeses underline the effective ritual dimension of these paintings. Maithil art became the sphere onto which he projected the expectations traditionally assumed by the religion. It is no longer the instrument, but the object of the sacralization. Sanctified with the admiration of Yves Véquaud, the painters were not “acknowledged by the ecclesiastical authorities”: it concords with the informal religiosity of the author. He thus put forward an essentialized vision of Mithila paintings. Perhaps it represented also an attempt to sublimate his own artistic failures by projecting onto fantasized painters an imaginary solution to a melancholy situation: giving up novelistic publications, whether due to lack of inspiration or to editorial refusals. His neo-tantric vision of Mithila paintings resulted from the kairos of the hippie phase previously evoked. <br />Yet in 1994 India Served and Observed, the memoirs posthumously published by William Archer and his spouse, Mildred, put forward a fanciful account about the discovery of Mithila paintings, marked with a Flower Power sensitivity : it stays in-between the construction of a storytelling and an aesthetic emotion, which is a posteriori inflamed. To seize the proclaimed strong and valued discourses of the moment on South-Asia is equivalent to a re-enchantment of Archer’s writings. This work builds itself in resonance with Véquaud’s one. Thus in this new narrative about the discovery of Mithila paintings, the meeting with the paintings and the painters is described as simultaneously exalted and distanced, but sublimated by aesthetic emotion. A narrative play takes shape wavering between desire and repression. According to their words, "in these murals we somehow electrically met". <br />I will analyzed in what extent these idealized works and their women heroized figures could be situated in the social context of the “counter-culture” and the hippie movement, foreseeing the globalization of Mithila paintings in the 1990s : since then some maithil artists free themselves from categories of gender, caste and local belonging. The appearance of painters men in Mithila, motivated in particular by the prospect of profits, polls gender categories associated to a practice for a long time exclusively feminine. Simultaneously some researchers deconstruct this essentialized tradition. They expound Archer’s and Vequaud's interpretations as an hegemonic discourse constituted from masculine canons.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32461384" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="21e4cdcad9b3cd8fde6ebee716dfc22c" rel="nofollow" data-download="{"attachment_id":52650124,"asset_id":32461384,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52650124/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27301461" href="https://campus-paris-saclay.academia.edu/H%C3%A9l%C3%A8neFleury">Hélène Fleury</a><script data-card-contents-for-user="27301461" type="text/json">{"id":27301461,"first_name":"Hélène","last_name":"Fleury","domain_name":"campus-paris-saclay","page_name":"HélèneFleury","display_name":"Hélène Fleury","profile_url":"https://campus-paris-saclay.academia.edu/H%C3%A9l%C3%A8neFleury?f_ri=26558","photo":"https://0.academia-photos.com/27301461/7754209/15783926/s65_h_l_ne.fleury.png"}</script></span></span></li><li class="js-paper-rank-work_32461384 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="32461384"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 32461384, container: ".js-paper-rank-work_32461384", }); });</script></li><li class="js-percentile-work_32461384 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 32461384; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_32461384"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_32461384 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="32461384"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 32461384; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=32461384]").text(description); $(".js-view-count-work_32461384").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_32461384").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="32461384"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="997" href="https://www.academia.edu/Documents/in/Reception_Studies">Reception Studies</a>, <script data-card-contents-for-ri="997" type="text/json">{"id":997,"name":"Reception Studies","url":"https://www.academia.edu/Documents/in/Reception_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3225" href="https://www.academia.edu/Documents/in/Visual_Culture">Visual Culture</a><script data-card-contents-for-ri="3225" type="text/json">{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=32461384]'), work: {"id":32461384,"title":"Heroization and International Reception of Mithila Paintings Constructing Women (Painters) Figure in William’s Archer’s and Yves Véquaud’s Writings","created_at":"2017-04-17T12:42:32.342-07:00","url":"https://www.academia.edu/32461384/Heroization_and_International_Reception_of_Mithila_Paintings_Constructing_Women_Painters_Figure_in_William_s_Archer_s_and_Yves_V%C3%A9quaud_s_Writings?f_ri=26558","dom_id":"work_32461384","summary":"Derived from Maithil practices and festivals and assumed to protect the household, the Madhubani Paintings spread since the 1960s in India and abroad. Transferred on paper in order to be commercialized, they undergo important changes. I will focus on the reception history of Mithila paintings through two Western mediators, who each declared themselves to be the discoverers of these paintings: one is British, William Archer (1907- 1979); the other French, Yves Véquaud (1938-2000). They bear witness to an international reception which underlines a particular aspect of the worldwide connected and shared histories of Bihar. \nAfter being appointed officer of the Indian Civil Service in Bihar, Archer publishes in 1949 the article “Maithil Painting”. This is a first moment in the reception history of these paintings. His writings show a universal aesthetic, based on psychoanalyze, surrealism and an organic vision of art. \nThe hippie “counter-culture” renews enchanted orientalist and romantic visions of a South Asian universe presumed to be spiritual, pantheist and sensorial. Followed on the heels of the sixties, indophily appears a particularly favourable, moment - or kairos - in the reception of Maithil works. It parallels the internationalization of its actors: Erika Moser Schmitt in Germany, Tokio Hasegawa in Japan, Raymond and Naomi Owens as well as David Szanton in United States and Yves Véquaud in France. The writings of the latter mingled an aptitude to capture the “air du temps” with a real interest in India and adhered to the values of the counter-culture. He is today mostly known for his essays on Mithila paintings. The Mithila Art is published in 1976, then translated in 1977 into English and German. In 1974, he co-directed the documentary Mithila. During a period of about ten years, he exhibited his collection of Mithila paintings in France and abroad (in particular in Paris, Musée de l’Homme, Musée des arts Décoratifs...). \nIn 1970, Véquaud discovered the Mithila paintings in New-Delhi thanks to the museologist Ratna Fabri. He remained in India for two years, went to Madhubani and met some village painters. In his writings, the Maithil women painters are presented as charismatic figures, between holiness and genius. In 1973, Sita Devi “appears to him as a saint”, withdrawn from the world, “in a inner-peace and trust refuge which nothing could disturb\". From the author’s standpoint, the talent of these painters, neo-tantric muses presumed to create only when in a yogic state, is compared with that of an exorcist. This vision of the prophetic artist, fluctuating between the christic figure of the saviour and the holy icon, also bears witness to the transformation of the status of the artist since the 19th Century in the West and to the appearance of a ”vocational regime” (Nathalie Heinich). These charismatic figures call to mind the appearance of a conception of the artist as the author of innovative works, and living a singular life. Like Braque and Rouault, the Maithil women painters would so be transformed into figures of legend, likely to guide the work of their followers in their efforts to become an artist. These prophetic artists would become a modern incarnation of holiness. In 1968, Yves Véquaud describes Mozart and Van Gogh as saints, whose example overwhelms. From his standpoint, the prophetic Maithil artists are devoid of the overwhelming heroization that affects Western artists. They would correspond to his promotion of creative spontaneity and a present freed from the burden of the past, in quest of eternal moments. \nIn Yves Véquaud’s conception, the women painters swing between an ideal of devout humility and religious immortality. In 1973, Sita Devi is described as the one who “knew all the honours” and yet remained “humble and loving”. From the westernized standpoint of Véquaud, the artistic success of Maithil painters may be explained by their desire for singularity and timelessness in their results. This involves both the personalization of means, namely the invention of new paths, as well as the depersonalization of the ends of the success, namely the creation of objects crystallizing values recognized beyond the author. This contingency was traditionally reserved for saints and heroes. \nHis admiration for these artists assumed an almost devotional character. Following the example of the canonization of Western art, Yves Véquaud established a relationship between the Maithil pictorial phenomenon and a religious phenomenon, the neo-tantrism. His behaviour was almost that of a believer. He set up his exhibitions with a nearly sacerdotal and proselytizing diligence. His hermeneutics of the works is almost theological. The conditions in which the paintings were produced has been neglected. The art of Mithila is described as a (wedding) liturgy ; the paintbrush becomes the tool of prayer. The biographies of the painters appear as a “golden legend”. Nevertheless, these exegeses underline the effective ritual dimension of these paintings. Maithil art became the sphere onto which he projected the expectations traditionally assumed by the religion. It is no longer the instrument, but the object of the sacralization. Sanctified with the admiration of Yves Véquaud, the painters were not “acknowledged by the ecclesiastical authorities”: it concords with the informal religiosity of the author. He thus put forward an essentialized vision of Mithila paintings. Perhaps it represented also an attempt to sublimate his own artistic failures by projecting onto fantasized painters an imaginary solution to a melancholy situation: giving up novelistic publications, whether due to lack of inspiration or to editorial refusals. His neo-tantric vision of Mithila paintings resulted from the kairos of the hippie phase previously evoked. \nYet in 1994 India Served and Observed, the memoirs posthumously published by William Archer and his spouse, Mildred, put forward a fanciful account about the discovery of Mithila paintings, marked with a Flower Power sensitivity : it stays in-between the construction of a storytelling and an aesthetic emotion, which is a posteriori inflamed. To seize the proclaimed strong and valued discourses of the moment on South-Asia is equivalent to a re-enchantment of Archer’s writings. This work builds itself in resonance with Véquaud’s one. Thus in this new narrative about the discovery of Mithila paintings, the meeting with the paintings and the painters is described as simultaneously exalted and distanced, but sublimated by aesthetic emotion. A narrative play takes shape wavering between desire and repression. According to their words, \"in these murals we somehow electrically met\". \nI will analyzed in what extent these idealized works and their women heroized figures could be situated in the social context of the “counter-culture” and the hippie movement, foreseeing the globalization of Mithila paintings in the 1990s : since then some maithil artists free themselves from categories of gender, caste and local belonging. The appearance of painters men in Mithila, motivated in particular by the prospect of profits, polls gender categories associated to a practice for a long time exclusively feminine. Simultaneously some researchers deconstruct this essentialized tradition. They expound Archer’s and Vequaud's interpretations as an hegemonic discourse constituted from masculine canons.","downloadable_attachments":[{"id":52650124,"asset_id":32461384,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27301461,"first_name":"Hélène","last_name":"Fleury","domain_name":"campus-paris-saclay","page_name":"HélèneFleury","display_name":"Hélène Fleury","profile_url":"https://campus-paris-saclay.academia.edu/H%C3%A9l%C3%A8neFleury?f_ri=26558","photo":"https://0.academia-photos.com/27301461/7754209/15783926/s65_h_l_ne.fleury.png"}],"research_interests":[{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=26558","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=26558","nofollow":false},{"id":997,"name":"Reception Studies","url":"https://www.academia.edu/Documents/in/Reception_Studies?f_ri=26558","nofollow":false},{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=26558","nofollow":false},{"id":3389,"name":"Indian studies","url":"https://www.academia.edu/Documents/in/Indian_studies?f_ri=26558"},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=26558"},{"id":9650,"name":"Cultural Identity","url":"https://www.academia.edu/Documents/in/Cultural_Identity?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":28374,"name":"Visual and Cultural Studies","url":"https://www.academia.edu/Documents/in/Visual_and_Cultural_Studies?f_ri=26558"},{"id":39786,"name":"Visual Identity","url":"https://www.academia.edu/Documents/in/Visual_Identity?f_ri=26558"},{"id":43838,"name":"India","url":"https://www.academia.edu/Documents/in/India?f_ri=26558"},{"id":221426,"name":"Bihar","url":"https://www.academia.edu/Documents/in/Bihar?f_ri=26558"},{"id":608302,"name":"Mithila","url":"https://www.academia.edu/Documents/in/Mithila?f_ri=26558"},{"id":1717158,"name":"Heroization","url":"https://www.academia.edu/Documents/in/Heroization?f_ri=26558"},{"id":1840279,"name":"Mithila paintings","url":"https://www.academia.edu/Documents/in/Mithila_paintings?f_ri=26558"},{"id":1840281,"name":"William Archer","url":"https://www.academia.edu/Documents/in/William_Archer?f_ri=26558"},{"id":1840287,"name":"Yves Véquaud","url":"https://www.academia.edu/Documents/in/Yves_V%C3%A9quaud?f_ri=26558"},{"id":2521717,"name":"History of Mithila","url":"https://www.academia.edu/Documents/in/History_of_Mithila?f_ri=26558"},{"id":2651732,"name":"International Reception","url":"https://www.academia.edu/Documents/in/International_Reception?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44637467" data-work_id="44637467" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44637467/Ahmed_Cherkaoui_in_Warsaw_Polish_Moroccan_Artistic_Relations_in_1955_1980_translated_by_Paulina_Bo%C5%BCek_Zach%C4%99ta_National_Gallery_of_Art_Warsaw_2020_selected_pages_1_7_29_38">Ahmed Cherkaoui in Warsaw. Polish-Moroccan Artistic Relations in 1955-1980, [translated by Paulina Bożek], Zachęta - National Gallery of Art, Warsaw 2020, selected pages: 1-7; 29-38</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Polish-Moroccan artistic relations during the Cold War are part of a broader historical phenomenon of the political and cultural rapprochement between the countries of the Eastern Bloc and those of the Global South. Ahmed Cherkaoui in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44637467" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Polish-Moroccan artistic relations during the Cold War are part of<br />a broader historical phenomenon of the political and cultural rapprochement<br />between the countries of the Eastern Bloc and those<br />of the Global South. Ahmed Cherkaoui in Warsaw is a chronological<br />overview of these relations, initiated by the arrival of Farid Belkahia<br />in Warsaw in 1955. The book focuses on Moroccan artists who studied<br />at art schools in Warsaw and Kraków, as well as the Film School in<br />Łódź. Ahmed Cherkaoui was the first student from the independent<br />Kingdom of Morocco at the Academy of Fine Arts in Warsaw to receive<br />scholarship. The book reconstructs his ‘Warsaw period’, offers insight<br />into the milieu of other Moroccan art students in Poland, as well as<br />Roman Artymowski’s collaboration with Moroccan artists and students<br />in Asilah. The publication focuses on socialist art of the 1950s,<br />matter painting and abstract art of the 1960s, as well as academic<br />art, experimental film, conceptual practices and the graphic art of<br />the late 1970s against the background of the artistic and political<br />transformations of the global Cold War.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44637467" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="833db939e9e228f397ed92c83c1dcfbd" rel="nofollow" data-download="{"attachment_id":65107974,"asset_id":44637467,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65107974/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4426096" href="https://ispan.academia.edu/PrzemyslawStrozek">Przemyslaw Strozek</a><script data-card-contents-for-user="4426096" type="text/json">{"id":4426096,"first_name":"Przemyslaw","last_name":"Strozek","domain_name":"ispan","page_name":"PrzemyslawStrozek","display_name":"Przemyslaw Strozek","profile_url":"https://ispan.academia.edu/PrzemyslawStrozek?f_ri=26558","photo":"https://0.academia-photos.com/4426096/1802951/9179367/s65_przemyslaw.strozek.jpg"}</script></span></span></li><li class="js-paper-rank-work_44637467 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44637467"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44637467, container: ".js-paper-rank-work_44637467", }); });</script></li><li class="js-percentile-work_44637467 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44637467; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44637467"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44637467 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44637467"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44637467; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44637467]").text(description); $(".js-view-count-work_44637467").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44637467").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44637467"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8233" href="https://www.academia.edu/Documents/in/Transnational_History">Transnational History</a>, <script data-card-contents-for-ri="8233" type="text/json">{"id":8233,"name":"Transnational History","url":"https://www.academia.edu/Documents/in/Transnational_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14729" href="https://www.academia.edu/Documents/in/Modern_Arab_Art">Modern Arab Art</a><script data-card-contents-for-ri="14729" type="text/json">{"id":14729,"name":"Modern Arab Art","url":"https://www.academia.edu/Documents/in/Modern_Arab_Art?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44637467]'), work: {"id":44637467,"title":"Ahmed Cherkaoui in Warsaw. 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Ahmed Cherkaoui was the first student from the independent\nKingdom of Morocco at the Academy of Fine Arts in Warsaw to receive\nscholarship. The book reconstructs his ‘Warsaw period’, offers insight\ninto the milieu of other Moroccan art students in Poland, as well as\nRoman Artymowski’s collaboration with Moroccan artists and students\nin Asilah. The publication focuses on socialist art of the 1950s,\nmatter painting and abstract art of the 1960s, as well as academic\nart, experimental film, conceptual practices and the graphic art of\nthe late 1970s against the background of the artistic and political\ntransformations of the global Cold War.","downloadable_attachments":[{"id":65107974,"asset_id":44637467,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4426096,"first_name":"Przemyslaw","last_name":"Strozek","domain_name":"ispan","page_name":"PrzemyslawStrozek","display_name":"Przemyslaw Strozek","profile_url":"https://ispan.academia.edu/PrzemyslawStrozek?f_ri=26558","photo":"https://0.academia-photos.com/4426096/1802951/9179367/s65_przemyslaw.strozek.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=26558","nofollow":false},{"id":8233,"name":"Transnational History","url":"https://www.academia.edu/Documents/in/Transnational_History?f_ri=26558","nofollow":false},{"id":14729,"name":"Modern Arab Art","url":"https://www.academia.edu/Documents/in/Modern_Arab_Art?f_ri=26558","nofollow":false},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":31319,"name":"20th century Avant-Garde","url":"https://www.academia.edu/Documents/in/20th_century_Avant-Garde?f_ri=26558"},{"id":38429,"name":"Global South","url":"https://www.academia.edu/Documents/in/Global_South?f_ri=26558"},{"id":47024,"name":"Polish Art and Architecture","url":"https://www.academia.edu/Documents/in/Polish_Art_and_Architecture?f_ri=26558"},{"id":107605,"name":"African Modern Art","url":"https://www.academia.edu/Documents/in/African_Modern_Art?f_ri=26558"},{"id":1345472,"name":"Moroccan Visual Art","url":"https://www.academia.edu/Documents/in/Moroccan_Visual_Art?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38522869" data-work_id="38522869" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38522869/50_50_Fifty_Works_by_Fifty_British_Women_Artists_1900_1950">50/50; Fifty Works by Fifty British Women Artists 1900 - 1950</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is the catalogue to an exhibition of the same name, which took place at the Worshipful Company of Mercers and Leeds University Art Gallery. It presents fifty outstanding artworks by fifty British Women artists working between 1900 -... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38522869" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is the catalogue to an exhibition of the same name, which took place at the Worshipful Company of Mercers and Leeds University Art Gallery. It presents fifty outstanding artworks by fifty British Women artists working between 1900 - 1950. There is an introductory essay by curator, Sacha Llewellyn, and fifty commentaries about each picture by fifty different writers. The exhibition marks the centenary of the Representation of the People's Act, and aims to readdress the dominant 'master' narrative of British art history.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38522869" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f404e342304d12e8a46a81b994e4a71e" rel="nofollow" data-download="{"attachment_id":58591824,"asset_id":38522869,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58591824/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1018603" href="https://independent.academia.edu/Sachallewellyn">Sacha llewellyn</a><script data-card-contents-for-user="1018603" type="text/json">{"id":1018603,"first_name":"Sacha","last_name":"llewellyn","domain_name":"independent","page_name":"Sachallewellyn","display_name":"Sacha llewellyn","profile_url":"https://independent.academia.edu/Sachallewellyn?f_ri=26558","photo":"https://0.academia-photos.com/1018603/2064115/15034379/s65_sacha.llewellyn.jpg"}</script></span></span></li><li class="js-paper-rank-work_38522869 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38522869"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38522869, container: ".js-paper-rank-work_38522869", }); });</script></li><li class="js-percentile-work_38522869 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38522869; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_38522869"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_38522869 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="38522869"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38522869; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38522869]").text(description); $(".js-view-count-work_38522869").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38522869").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38522869"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="696" href="https://www.academia.edu/Documents/in/Gender_Studies">Gender Studies</a>, <script data-card-contents-for-ri="696" type="text/json">{"id":696,"name":"Gender Studies","url":"https://www.academia.edu/Documents/in/Gender_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1138" href="https://www.academia.edu/Documents/in/Womens_Studies">Women's Studies</a>, <script data-card-contents-for-ri="1138" type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1726" href="https://www.academia.edu/Documents/in/Womens_History">Women's History</a><script data-card-contents-for-ri="1726" type="text/json">{"id":1726,"name":"Women's History","url":"https://www.academia.edu/Documents/in/Womens_History?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38522869]'), work: {"id":38522869,"title":"50/50; 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It presents fifty outstanding artworks by fifty British Women artists working between 1900 - 1950. There is an introductory essay by curator, Sacha Llewellyn, and fifty commentaries about each picture by fifty different writers. The exhibition marks the centenary of the Representation of the People's Act, and aims to readdress the dominant 'master' narrative of British art history. 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Teoria filozoficzna i praktyka artystyczna ponowoczesności</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą,... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_13959376" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Przysługujący widmom wywrotowy, niemalże rewolucyjny potencjał został odsunięty oraz zagubiony poprzez pozbycie się tej kontrowersyjnej kategorii z terytorium metafizyki i zbyt pośpieszne odesłanie jej do przestrzeni badań nad literaturą, sprowadzając ją jedynie do roli użytecznego, bezpiecznego narzędzia interpretacji. <br /> <br />Książka Andrzeja Marca odzyskuje niepokojący charakter widmontologii i ponownie wprowadza widma do myśli metafizycznej. Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? <br /> <br />Kategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. Uznając, że nie jesteśmy już w stanie tworzyć utopijnych wizji przyszłości, autor stara się zdać sprawę z widmowego charakteru współczesnej kultury, analizując m. in. strategie vintage, retro, nurt no future w kulturze lat 70. czy nurt fantastyki naukowej w literaturze.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/13959376" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5cb3eb5ddabc57008b3ec7f6303f0324" rel="nofollow" data-download="{"attachment_id":56840903,"asset_id":13959376,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/56840903/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1934801" href="https://amu.academia.edu/AndrzejMarzec">Andrzej Marzec</a><script data-card-contents-for-user="1934801" type="text/json">{"id":1934801,"first_name":"Andrzej","last_name":"Marzec","domain_name":"amu","page_name":"AndrzejMarzec","display_name":"Andrzej Marzec","profile_url":"https://amu.academia.edu/AndrzejMarzec?f_ri=26558","photo":"https://0.academia-photos.com/1934801/652084/20810388/s65_andrzej.marzec.jpg"}</script></span></span></li><li class="js-paper-rank-work_13959376 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="13959376"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 13959376, container: ".js-paper-rank-work_13959376", }); 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Czym nawiedzona i przeniknięta jest tradycyjna metafizyka, co właściwie ją dręczy, nie daje spokoju oraz nieustannie podmywa jej stabilność? \r\n \r\nKategoria widma Derridy posłużyła Marcowi przede wszystkim do rozważań nad charakterem współczesności i przeobrażeń, jakie dokonały się w obrębie myśli ponowoczesnej. Współczesna kultura, zdaniem Marca, stała się miejscem powstawania widm, nieustannie powracających z przeszłości. 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})();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33380850" data-work_id="33380850" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33380850/_Submarine_Futures_of_the_Anthropocene_Comparative_Literature_2017_69_1_32_44">"Submarine Futures of the Anthropocene." _Comparative Literature_ (2017) 69 (1): 32-44</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Oceanic Turn: We are witnessing an interdisciplinary transition to what might be called " critical ocean studies " that reflects an important shift from a long-term concern with mobility across transoceanic surfaces to theorizing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33380850" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Oceanic Turn: We are witnessing an interdisciplinary transition to what might be called " critical ocean studies " that reflects an important shift from a long-term concern with mobility across transoceanic surfaces to theorizing oceanic submersion, thus rendering vast oceanic space into ontological place. This has much to do with a new oceanic imaginary emerging in the wake of the knowledge of anthropogenic climate change and sea-level rise. This turn to ontologies of the sea and its multispe-cies engagements are the focus of this paper, particularly their implications for temporality and aesthetics in the Anthropocene. The oceanic turn of the twentieth century issued from geopolitics as well as new interdisciplinary groupings in the humanities and social sciences. It can be traced to the 1945 Truman Proclamation — the most significant, and yet largely unre-marked, twentieth-century remapping of the globe — which extended U.S. territory to include a two-hundred nautical mile Exclusive Economic Zone (EEZ) (see DeLoughrey, Routes). This created a scramble for the oceans, catalyzing EEZ declarations by nations all over the world and a U.N. Convention on the Law of the Sea that effectively remapped seventy percent of the planet. Although largely unnoticed by new disciplinary groupings such as the " Blue Humanities " (Mentz), Cold War geopolitics had a decisive influence in configuring a new understanding of the terraqueous globe. The second catalyst for the rise of critical ocean studies was the post-1970s " spatial turn, " which led to the emergence of globalization and diaspora studies. Marx-ist geography was integral to defining the post-Fordist era of global capitalism and relations of labor to space. This loosening of nationally-bounded modes of thinking about capital and space led to an unprecedented number of transoceanic studies, notably the work of Marcus Rediker, which helped to inspire Paul Gilroy's The Black Atlantic, a text that inaugurated a new generation of thinking about race in transoceanic ways.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33380850" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3d445860ab0f489376389695c141c072" rel="nofollow" data-download="{"attachment_id":53436613,"asset_id":33380850,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/53436613/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="574475" href="https://ucla.academia.edu/ElizabethDeLoughrey">Elizabeth DeLoughrey</a><script data-card-contents-for-user="574475" type="text/json">{"id":574475,"first_name":"Elizabeth","last_name":"DeLoughrey","domain_name":"ucla","page_name":"ElizabethDeLoughrey","display_name":"Elizabeth DeLoughrey","profile_url":"https://ucla.academia.edu/ElizabethDeLoughrey?f_ri=26558","photo":"https://0.academia-photos.com/574475/876465/18620293/s65_elizabeth.deloughrey.jpg"}</script></span></span></li><li class="js-paper-rank-work_33380850 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="33380850"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 33380850, container: ".js-paper-rank-work_33380850", }); 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$(".js-view-count[data-work-id=33380850]").text(description); $(".js-view-count-work_33380850").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33380850").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33380850"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2860" href="https://www.academia.edu/Documents/in/Postcolonial_Studies">Postcolonial Studies</a>, <script data-card-contents-for-ri="2860" type="text/json">{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6259" href="https://www.academia.edu/Documents/in/Caribbean_Literature">Caribbean Literature</a><script data-card-contents-for-ri="6259" type="text/json">{"id":6259,"name":"Caribbean Literature","url":"https://www.academia.edu/Documents/in/Caribbean_Literature?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33380850]'), work: {"id":33380850,"title":"\"Submarine Futures of the Anthropocene.\" _Comparative Literature_ (2017) 69 (1): 32-44","created_at":"2017-06-08T09:09:10.313-07:00","url":"https://www.academia.edu/33380850/_Submarine_Futures_of_the_Anthropocene_Comparative_Literature_2017_69_1_32_44?f_ri=26558","dom_id":"work_33380850","summary":"The Oceanic Turn: We are witnessing an interdisciplinary transition to what might be called \" critical ocean studies \" that reflects an important shift from a long-term concern with mobility across transoceanic surfaces to theorizing oceanic submersion, thus rendering vast oceanic space into ontological place. This has much to do with a new oceanic imaginary emerging in the wake of the knowledge of anthropogenic climate change and sea-level rise. This turn to ontologies of the sea and its multispe-cies engagements are the focus of this paper, particularly their implications for temporality and aesthetics in the Anthropocene. The oceanic turn of the twentieth century issued from geopolitics as well as new interdisciplinary groupings in the humanities and social sciences. It can be traced to the 1945 Truman Proclamation — the most significant, and yet largely unre-marked, twentieth-century remapping of the globe — which extended U.S. territory to include a two-hundred nautical mile Exclusive Economic Zone (EEZ) (see DeLoughrey, Routes). This created a scramble for the oceans, catalyzing EEZ declarations by nations all over the world and a U.N. Convention on the Law of the Sea that effectively remapped seventy percent of the planet. Although largely unnoticed by new disciplinary groupings such as the \" Blue Humanities \" (Mentz), Cold War geopolitics had a decisive influence in configuring a new understanding of the terraqueous globe. The second catalyst for the rise of critical ocean studies was the post-1970s \" spatial turn, \" which led to the emergence of globalization and diaspora studies. Marx-ist geography was integral to defining the post-Fordist era of global capitalism and relations of labor to space. This loosening of nationally-bounded modes of thinking about capital and space led to an unprecedented number of transoceanic studies, notably the work of Marcus Rediker, which helped to inspire Paul Gilroy's The Black Atlantic, a text that inaugurated a new generation of thinking about race in transoceanic ways. ","downloadable_attachments":[{"id":53436613,"asset_id":33380850,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":574475,"first_name":"Elizabeth","last_name":"DeLoughrey","domain_name":"ucla","page_name":"ElizabethDeLoughrey","display_name":"Elizabeth DeLoughrey","profile_url":"https://ucla.academia.edu/ElizabethDeLoughrey?f_ri=26558","photo":"https://0.academia-photos.com/574475/876465/18620293/s65_elizabeth.deloughrey.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=26558","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=26558","nofollow":false},{"id":6259,"name":"Caribbean Literature","url":"https://www.academia.edu/Documents/in/Caribbean_Literature?f_ri=26558","nofollow":false},{"id":7945,"name":"Caribbean Studies","url":"https://www.academia.edu/Documents/in/Caribbean_Studies?f_ri=26558"},{"id":12493,"name":"Derek Walcott","url":"https://www.academia.edu/Documents/in/Derek_Walcott?f_ri=26558"},{"id":15863,"name":"Postcolonial Literature","url":"https://www.academia.edu/Documents/in/Postcolonial_Literature?f_ri=26558"},{"id":23193,"name":"Environmental Humanities","url":"https://www.academia.edu/Documents/in/Environmental_Humanities?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":39738,"name":"Anthropocene studies","url":"https://www.academia.edu/Documents/in/Anthropocene_studies?f_ri=26558"},{"id":149474,"name":"Anthropocene","url":"https://www.academia.edu/Documents/in/Anthropocene?f_ri=26558"},{"id":738447,"name":"Blue Humanities","url":"https://www.academia.edu/Documents/in/Blue_Humanities?f_ri=26558"},{"id":1317556,"name":"Anthropocene Theory","url":"https://www.academia.edu/Documents/in/Anthropocene_Theory?f_ri=26558"},{"id":1788180,"name":"Art and the Anthropocene","url":"https://www.academia.edu/Documents/in/Art_and_the_Anthropocene?f_ri=26558"},{"id":2628597,"name":"geontologies","url":"https://www.academia.edu/Documents/in/geontologies?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35843135" data-work_id="35843135" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35843135/_Retranslating_Marc_Chagall_Today_">"Retranslating Marc Chagall Today"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">University of Florida, Department of Literatures, Languages and Cultures/Jewish Studies Center, February 22, 2018.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35843135" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4541107d64d5923e87ce4767a005a402" rel="nofollow" data-download="{"attachment_id":55721478,"asset_id":35843135,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Ringuet","profile_url":"https://mcgill.academia.edu/ChantalRinguet?f_ri=26558","photo":"https://0.academia-photos.com/7957134/2792147/17351690/s65_chantal.ringuet.jpg"}</script></span></span></li><li class="js-paper-rank-work_35843135 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35843135"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35843135, container: ".js-paper-rank-work_35843135", }); });</script></li><li class="js-percentile-work_35843135 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35843135; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = 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data-has-card-for-ri="7297" href="https://www.academia.edu/Documents/in/Autobiography">Autobiography</a>, <script data-card-contents-for-ri="7297" type="text/json">{"id":7297,"name":"Autobiography","url":"https://www.academia.edu/Documents/in/Autobiography?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="26558" href="https://www.academia.edu/Documents/in/Visual_Arts">Visual Arts</a><script data-card-contents-for-ri="26558" type="text/json">{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35843135]'), work: {"id":35843135,"title":"\"Retranslating Marc Chagall Today\"","created_at":"2018-02-05T08:28:34.383-08:00","url":"https://www.academia.edu/35843135/_Retranslating_Marc_Chagall_Today_?f_ri=26558","dom_id":"work_35843135","summary":"University of Florida, Department of Literatures, Languages and Cultures/Jewish Studies Center, February 22, 2018. ","downloadable_attachments":[{"id":55721478,"asset_id":35843135,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7957134,"first_name":"Chantal","last_name":"Ringuet","domain_name":"mcgill","page_name":"ChantalRinguet","display_name":"Chantal Ringuet","profile_url":"https://mcgill.academia.edu/ChantalRinguet?f_ri=26558","photo":"https://0.academia-photos.com/7957134/2792147/17351690/s65_chantal.ringuet.jpg"}],"research_interests":[{"id":983,"name":"Jewish Studies","url":"https://www.academia.edu/Documents/in/Jewish_Studies?f_ri=26558","nofollow":false},{"id":1186,"name":"Translation Studies","url":"https://www.academia.edu/Documents/in/Translation_Studies?f_ri=26558","nofollow":false},{"id":7297,"name":"Autobiography","url":"https://www.academia.edu/Documents/in/Autobiography?f_ri=26558","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558","nofollow":false},{"id":44055,"name":"Yiddish Studies","url":"https://www.academia.edu/Documents/in/Yiddish_Studies?f_ri=26558"},{"id":66877,"name":"marc Chagall","url":"https://www.academia.edu/Documents/in/marc_Chagall?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_33562460" data-work_id="33562460" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/33562460/The_TransparenT_phoTograph_Reflections_on_the_ontology_of_PhotogRaPhs_in_a_changing_Digital_lanDscaPe">'The TransparenT phoTograph' Reflections on the ontology of PhotogRaPhs in a changing Digital lanDscaPe</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a 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History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1589" href="https://www.academia.edu/Documents/in/Photography">Photography</a>, <script data-card-contents-for-ri="1589" type="text/json">{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2860" href="https://www.academia.edu/Documents/in/Postcolonial_Studies">Postcolonial Studies</a>, <script data-card-contents-for-ri="2860" type="text/json">{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7513" href="https://www.academia.edu/Documents/in/Archives">Archives</a><script data-card-contents-for-ri="7513" type="text/json">{"id":7513,"name":"Archives","url":"https://www.academia.edu/Documents/in/Archives?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33562460]'), work: {"id":33562460,"title":"'The TransparenT phoTograph' Reflections on the ontology of PhotogRaPhs in a changing Digital lanDscaPe","created_at":"2017-06-19T22:17:33.013-07:00","url":"https://www.academia.edu/33562460/The_TransparenT_phoTograph_Reflections_on_the_ontology_of_PhotogRaPhs_in_a_changing_Digital_lanDscaPe?f_ri=26558","dom_id":"work_33562460","summary":null,"downloadable_attachments":[{"id":53588568,"asset_id":33562460,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1908264,"first_name":"Paolo","last_name":"Favero","domain_name":"antwerp","page_name":"PaoloFavero","display_name":"Paolo S H Favero","profile_url":"https://antwerp.academia.edu/PaoloFavero?f_ri=26558","photo":"https://0.academia-photos.com/1908264/645154/7395051/s65_paolo.favero.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false},{"id":1589,"name":"Photography","url":"https://www.academia.edu/Documents/in/Photography?f_ri=26558","nofollow":false},{"id":2860,"name":"Postcolonial 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class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6715466/Modernist_Jewelry_Design_in_the_1940s_and_1950s">Modernist Jewelry Design in the 1940s and 1950s</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6715466" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e60739c75a0d7f8b639cae821db62435" rel="nofollow" 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type="text/json">{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6715466]'), work: {"id":6715466,"title":"Modernist Jewelry Design in the 1940s and 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Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=26558","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=26558"},{"id":6309,"name":"Metallurgy","url":"https://www.academia.edu/Documents/in/Metallurgy?f_ri=26558"},{"id":8444,"name":"Modernist Literature (Literary Modernism)","url":"https://www.academia.edu/Documents/in/Modernist_Literature_Literary_Modernism_?f_ri=26558"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=26558"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=26558"},{"id":47731,"name":"Jewelry Design","url":"https://www.academia.edu/Documents/in/Jewelry_Design?f_ri=26558"},{"id":88295,"name":"Fine Art","url":"https://www.academia.edu/Documents/in/Fine_Art?f_ri=26558"},{"id":110766,"name":"History of Jewelry","url":"https://www.academia.edu/Documents/in/History_of_Jewelry?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3232905" data-work_id="3232905" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3232905/Why_Are_Our_Pictures_Puzzles_On_the_Modern_Idea_of_Pictorial_Complexity">Why Are Our Pictures Puzzles? On the Modern Idea of Pictorial Complexity</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This is the entire book. "Why Are Our Pictures Puzzles?" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3232905" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This is the entire book. <br /> <br />"Why Are Our Pictures Puzzles?" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting was Vasari's description of Leonardo's "Last Supper." In the last forty years it has become common for historians to write entire books on individual artworks. <br /> <br />Why have we started experiencing images as so complex? Why do they seem to us like puzzles, waiting to be solved? Why doesn't it concern us that previous generations did not think of writing at such length? <br /> <br />This book also has a couple of chapters on what I consider to be psychotic behavior about images: compulsive sighting of supposedly hidden images, and a crazy art historical book about a painting written by Dalí. So I have tagged the book with psychoanalytic terms. <br /> <br />The book itself is still in print and in copyright, but I found a full pdf of this on the internet (for example on scribd), so I decided to post it on here on academia.edu, where at least it can have the correct context and links.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3232905" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="96632118e8528246e74c1e3d106112c2" rel="nofollow" data-download="{"attachment_id":31096402,"asset_id":3232905,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31096402/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="15483" href="https://saic.academia.edu/JElkins">James Elkins</a><script data-card-contents-for-user="15483" type="text/json">{"id":15483,"first_name":"James","last_name":"Elkins","domain_name":"saic","page_name":"JElkins","display_name":"James Elkins","profile_url":"https://saic.academia.edu/JElkins?f_ri=26558","photo":"https://0.academia-photos.com/15483/5205/5067/s65_james.elkins.jpg"}</script></span></span></li><li class="js-paper-rank-work_3232905 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3232905"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3232905, container: ".js-paper-rank-work_3232905", }); 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$(".js-view-count[data-work-id=3232905]").text(description); $(".js-view-count-work_3232905").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3232905").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3232905"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">28</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1" href="https://www.academia.edu/Documents/in/Creative_Writing">Creative Writing</a>, <script data-card-contents-for-ri="1" type="text/json">{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8" href="https://www.academia.edu/Documents/in/Critical_Theory">Critical Theory</a>, <script data-card-contents-for-ri="8" type="text/json">{"id":8,"name":"Critical Theory","url":"https://www.academia.edu/Documents/in/Critical_Theory?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="226" href="https://www.academia.edu/Documents/in/Clinical_Psychology">Clinical Psychology</a><script data-card-contents-for-ri="226" type="text/json">{"id":226,"name":"Clinical Psychology","url":"https://www.academia.edu/Documents/in/Clinical_Psychology?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3232905]'), work: {"id":3232905,"title":"Why Are Our Pictures Puzzles? On the Modern Idea of Pictorial Complexity","created_at":"2013-04-07T02:30:52.479-07:00","url":"https://www.academia.edu/3232905/Why_Are_Our_Pictures_Puzzles_On_the_Modern_Idea_of_Pictorial_Complexity?f_ri=26558","dom_id":"work_3232905","summary":"This is the entire book.\r\n\r\n\"Why Are Our Pictures Puzzles?\" is an attempt to understand why scholars have begun writing at such tremendous length on individual pictures. Before the 20th c., one of the longest texts on a single painting was Vasari's description of Leonardo's \"Last Supper.\" In the last forty years it has become common for historians to write entire books on individual artworks.\r\n\r\nWhy have we started experiencing images as so complex? Why do they seem to us like puzzles, waiting to be solved? Why doesn't it concern us that previous generations did not think of writing at such length?\r\n\r\nThis book also has a couple of chapters on what I consider to be psychotic behavior about images: compulsive sighting of supposedly hidden images, and a crazy art historical book about a painting written by Dalí. So I have tagged the book with psychoanalytic terms.\r\n\r\nThe book itself is still in print and in copyright, but I found a full pdf of this on the internet (for example on scribd), so I decided to post it on here on academia.edu, where at least it can have the correct context and links.","downloadable_attachments":[{"id":31096402,"asset_id":3232905,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":15483,"first_name":"James","last_name":"Elkins","domain_name":"saic","page_name":"JElkins","display_name":"James Elkins","profile_url":"https://saic.academia.edu/JElkins?f_ri=26558","photo":"https://0.academia-photos.com/15483/5205/5067/s65_james.elkins.jpg"}],"research_interests":[{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=26558","nofollow":false},{"id":8,"name":"Critical 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u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38853413" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="840ebf9f0f0ff9cb74d821c8f6b3cd7f" rel="nofollow" data-download="{"attachment_id":58948723,"asset_id":38853413,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58948723/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" 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class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8330" href="https://www.academia.edu/Documents/in/Walter_Benjamin">Walter Benjamin</a><script data-card-contents-for-ri="8330" type="text/json">{"id":8330,"name":"Walter Benjamin","url":"https://www.academia.edu/Documents/in/Walter_Benjamin?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=34714853]'), work: {"id":34714853,"title":"Jacques Derrida - Memorias del ciego: el autoretrato y otras ruinas (Mémoires d'aveugle: l'autoportrait et autres ruines)","created_at":"2017-09-29T03:02:04.271-07:00","url":"https://www.academia.edu/34714853/Jacques_Derrida_Memorias_del_ciego_el_autoretrato_y_otras_ruinas_M%C3%A9moires_daveugle_lautoportrait_et_autres_ruines_?f_ri=26558","dom_id":"work_34714853","summary":null,"downloadable_attachments":[{"id":54572106,"asset_id":34714853,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7798658,"first_name":"Carlos Mario","last_name":"Fisgativa","domain_name":"ffyluba","page_name":"CarlosMarioFisgativa","display_name":"Carlos Mario Fisgativa","profile_url":"https://ffyluba.academia.edu/CarlosMarioFisgativa?f_ri=26558","photo":"https://0.academia-photos.com/7798658/2769594/12114319/s65_carlos_mario.fisgativa.jpg"}],"research_interests":[{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=26558","nofollow":false},{"id":915,"name":"Art 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arts","url":"https://www.academia.edu/Documents/in/Phylosophy_of_arts?f_ri=26558"},{"id":1119173,"name":"Henri Fantin-Latour","url":"https://www.academia.edu/Documents/in/Henri_Fantin-Latour?f_ri=26558"},{"id":1222774,"name":"Continental Philosophy and Aesthetics","url":"https://www.academia.edu/Documents/in/Continental_Philosophy_and_Aesthetics?f_ri=26558"},{"id":1400083,"name":"Estetica Y Teoria Del Arte","url":"https://www.academia.edu/Documents/in/Estetica_Y_Teoria_Del_Arte-1?f_ri=26558"},{"id":1833100,"name":"Dibutades","url":"https://www.academia.edu/Documents/in/Dibutades?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29520560" data-work_id="29520560" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29520560/The_Impact_of_Digital_Media_on_Contemporary_Performance">The Impact of Digital Media on Contemporary Performance</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This thesis investigates artworks born at the convergence of digital media and contemporary performance, and the ways in which technology impacts the field of performance. The term digital media refers to technology that produces... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29520560" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This thesis investigates artworks born at the convergence of digital media and contemporary performance, and the ways in which technology impacts the field of performance. The term digital media refers to technology that produces digitised (as opposed to analogue) content such as text, audio, video, graphics and metadata. Contemporary performance refers to artworks that combine different artistic traditions—experimental theatre and dance, video art, visual art, music composition and performance art—in a single performance event. The convergence of these two fields has produced a significant body of technological works of art that challenge and reconfigure traditional conventions in contemporary performance. This thesis examines the impact of digital media on the ways performance is created, received and experienced, and the extent to which media open up new possibilities for creative expression and may generate new art forms. <br />I mapped the field by defining three large categories that mark the heterogeneous landscape of technologically enhanced performances today, namely multimedia theatre, telematic performance and pervasive performance. Methodologically, I combined hermeneutic methods of interpretation and reflection with academic forms of practical inquiry, combining textual analysis of relevant works from each of the three categories—such as Ghost Road (Murgia and Pauwels 2012), make-shift (Jamieson and Crutchlow 2010) and Rider Spoke (Blast Theory 2007)—with the practical development and analysis of a pervasive performance experiment titled Chain Reaction (Pérez 2009 and 2011). Theoretically, the project is interdisciplinary, bringing together performance theory, digital media studies, experimental game scholarship and experiential art documentation. <br />In discussing the ways in which digital media impact contemporary performance, I identify a number of traditional conventions in the field of theatre and performance that are currently being challenged. These are in the areas of audience participation, use of space, actor role, rehearsal and staging, and performance documentation. Central arguments in the thesis are, on the one hand, that researchers, critics and practitioners must look beyond the visionary expressions of aesthetic potential in order to grasp the real state of technologically enhanced art forms. On the on the other hand, it is only by considering both, the horizon-pushing high-tech along with the purpose-orientated low-tech, that a more grounded understanding of the present impact of developing technology on art culture can and should be reached.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29520560" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="59aaebbab52cefe0b846a1ef030c1f38" rel="nofollow" data-download="{"attachment_id":49959755,"asset_id":29520560,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49959755/download_file?st=MTczMjQ1Njc2MSw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="213391" href="https://ntnu-no.academia.edu/ElenaP%C3%A9rezRodr%C3%ADguez">Elena Pérez Rodríguez</a><script data-card-contents-for-user="213391" type="text/json">{"id":213391,"first_name":"Elena","last_name":"Pérez Rodríguez","domain_name":"ntnu-no","page_name":"ElenaPérezRodríguez","display_name":"Elena Pérez Rodríguez","profile_url":"https://ntnu-no.academia.edu/ElenaP%C3%A9rezRodr%C3%ADguez?f_ri=26558","photo":"https://0.academia-photos.com/213391/48925/10291978/s65_elena.p_rez_rodr_guez.jpg"}</script></span></span></li><li class="js-paper-rank-work_29520560 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29520560"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29520560, container: ".js-paper-rank-work_29520560", }); 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$(".js-view-count[data-work-id=29520560]").text(description); $(".js-view-count-work_29520560").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29520560").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29520560"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="757" href="https://www.academia.edu/Documents/in/Game_Theory">Game Theory</a>, <script data-card-contents-for-ri="757" type="text/json">{"id":757,"name":"Game Theory","url":"https://www.academia.edu/Documents/in/Game_Theory?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2337" href="https://www.academia.edu/Documents/in/Performance_Studies">Performance Studies</a>, <script data-card-contents-for-ri="2337" type="text/json">{"id":2337,"name":"Performance Studies","url":"https://www.academia.edu/Documents/in/Performance_Studies?f_ri=26558","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2869" href="https://www.academia.edu/Documents/in/Digital_Media">Digital Media</a><script data-card-contents-for-ri="2869" type="text/json">{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=26558","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29520560]'), work: {"id":29520560,"title":"The Impact of Digital Media on Contemporary Performance","created_at":"2016-10-29T05:55:04.474-07:00","url":"https://www.academia.edu/29520560/The_Impact_of_Digital_Media_on_Contemporary_Performance?f_ri=26558","dom_id":"work_29520560","summary":"This thesis investigates artworks born at the convergence of digital media and contemporary performance, and the ways in which technology impacts the field of performance. The term digital media refers to technology that produces digitised (as opposed to analogue) content such as text, audio, video, graphics and metadata. Contemporary performance refers to artworks that combine different artistic traditions—experimental theatre and dance, video art, visual art, music composition and performance art—in a single performance event. The convergence of these two fields has produced a significant body of technological works of art that challenge and reconfigure traditional conventions in contemporary performance. This thesis examines the impact of digital media on the ways performance is created, received and experienced, and the extent to which media open up new possibilities for creative expression and may generate new art forms. \nI mapped the field by defining three large categories that mark the heterogeneous landscape of technologically enhanced performances today, namely multimedia theatre, telematic performance and pervasive performance. Methodologically, I combined hermeneutic methods of interpretation and reflection with academic forms of practical inquiry, combining textual analysis of relevant works from each of the three categories—such as Ghost Road (Murgia and Pauwels 2012), make-shift (Jamieson and Crutchlow 2010) and Rider Spoke (Blast Theory 2007)—with the practical development and analysis of a pervasive performance experiment titled Chain Reaction (Pérez 2009 and 2011). Theoretically, the project is interdisciplinary, bringing together performance theory, digital media studies, experimental game scholarship and experiential art documentation. \nIn discussing the ways in which digital media impact contemporary performance, I identify a number of traditional conventions in the field of theatre and performance that are currently being challenged. These are in the areas of audience participation, use of space, actor role, rehearsal and staging, and performance documentation. Central arguments in the thesis are, on the one hand, that researchers, critics and practitioners must look beyond the visionary expressions of aesthetic potential in order to grasp the real state of technologically enhanced art forms. On the on the other hand, it is only by considering both, the horizon-pushing high-tech along with the purpose-orientated low-tech, that a more grounded understanding of the present impact of developing technology on art culture can and should be reached. \n","downloadable_attachments":[{"id":49959755,"asset_id":29520560,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":213391,"first_name":"Elena","last_name":"Pérez Rodríguez","domain_name":"ntnu-no","page_name":"ElenaPérezRodríguez","display_name":"Elena Pérez Rodríguez","profile_url":"https://ntnu-no.academia.edu/ElenaP%C3%A9rezRodr%C3%ADguez?f_ri=26558","photo":"https://0.academia-photos.com/213391/48925/10291978/s65_elena.p_rez_rodr_guez.jpg"}],"research_interests":[{"id":757,"name":"Game Theory","url":"https://www.academia.edu/Documents/in/Game_Theory?f_ri=26558","nofollow":false},{"id":928,"name":"Media 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Change","url":"https://www.academia.edu/Documents/in/Games_for_Change?f_ri=26558"},{"id":157702,"name":"Participatory and Relational Arts","url":"https://www.academia.edu/Documents/in/Participatory_and_Relational_Arts?f_ri=26558"}]}, }) } })();</script></ul></li></ul></div></div></div><div class="u-taCenter Pagination"><ul class="pagination"><li class="next_page"><a href="/Documents/in/Visual_Arts?after=50%2C29520560" rel="next">Next</a></li><li class="last next"><a href="/Documents/in/Visual_Arts?page=last">Last »</a></li></ul></div></div><div class="hidden-xs hidden-sm"><div class="u-pl6x"><div style="width: 300px;"><div class="panel panel-flat u-mt7x"><div class="panel-heading u-p5x"><div class="u-tcGrayDark u-taCenter u-fw700 u-textUppercase">Related Topics</div></div><ul class="list-group"><li class="list-group-item media_v2 u-mt0x u-p3x"><div class="media-body"><div class="u-tcGrayDarker u-fw700"><a class="u-tcGrayDarker" 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