scholarly journals De Holocausto (1978) a Chernobyl (2019): ¿Qué puede hacer el audiovisual ante un pasado traumático y un futuro amenazado?

Acta Poética ◽  
2021 ◽  
Vol 43 (1) ◽  
pp. 11-37
Author(s):  
Ilana Feldman ◽  
Keyword(s):  
Cultural History ◽  
State Violence ◽  
The State ◽  
Cultural Field ◽  
History Of ◽  
First Time

Retracing the cultural history of the reception of the TV series Holocaust (1978) as it redefined the politics of the State and put the testimony for the first time at the centre of the cultural field, undermining how the Jewish genocide was perceived until then, the article aims at discuss —by the contributions of Annette Wieviorka and Georges Didi-Huberman, among others— through a comparison with the hbo series Chernobyl (2019) and other cinematographic productions, what audio-visual is capable of in front of different forms of State violence, of a traumatic past and of a threatened future.

The Department of Restoration and Examination of Works of Art of the Kharkiv State Academy of Design and Arts in the History of Restoration in Slobozhanshchyna

2021 ◽  
Vol 2021 (02) ◽  
pp. 186-198
Author(s):  
V. Shulika ◽  
Keyword(s):  
Educational Institution ◽  
The State ◽  
Educational Process ◽  
Art Gallery ◽  
Works Of Art ◽  
The First World War ◽  
Teachers And Students ◽  
History Of ◽  
Scientific Practical ◽  
First Time

The article is devoted to the scientific, practical and pedagogical experience of the Department of Restoration and Examination of Works of Art of the Kharkiv State Academy of Design and Arts throughout its existence in the context of the development of this industry in the historical territory of Sloboda Ukraine. The REWA department of KSADA is the only educational institution in the East of Ukraine that trains artists-restorers of easel and monumental painting, specialists in expertise. Over the years, the department has restored many hundreds of works of art, and graduates of the department successfully work in restoration and museum institutions in Ukraine and the EU. The establishment of the REWA department was preceded by a long historical process of restoration activities in the region, which dates back to the second half of the seventeenth century, the time of the founding of Slobozhanshchyna. The first local restorers were icon painters, who were invited to perform works of art in cities and monasteries. Later, in the nineteenth century, the role of restorers was performed by local, including well-known, painters (I. Bunakov, I. Kulikovsky, M. Uvarov). Restoration education in Slobozhanshchyna dates back to 1902, when the training and icon-painting workshop was opened in Sloboda Borysivka, where the restoration of icon-painting was taught for the first time in the historical Ukrainian lands. During the First World War, the unveiling of the icon of St. Nicholas of Miletus Monastery became a significant event in Kharkiv (1915). In the 1920s and 1930s well-known restorers and representatives of related professions who mastered the profession of a restorer (M. Kasperovych, I. Sviatenko, P. Fomin, etc.), worked in Kharkiv. A restoration workshop operated at the Ukrainian Art Gallery in 1930s, and in 1938 the first Ukrainian-language edition on this subject was published and a separate section devoted to restoration (V. Lokhanko “Artistic Materials and Painting Techniques”). In 1984, Kharkiv branch of the State Research and Restoration Workshops was opened. Higher restoration education in Slobozhanshchyna was started in 1988, as a section of painting restoration, which was transformed into an independent graduating department in 1994. Teachers and students of the department within the educational process carry out practical restoration of works of art, monitoring of private and museum collections, the state of preservation of monumental paintings. They develop and improve methods of restoration, publish and patent developments and discoveries. The Department of REWA is constantly working on improvement of teaching and methods of evaluating the work of students, planning to open new educational programs.

THE PROJECT OF STAGING "KHOVANSHCHINA" BY M. P. MUSSORGSKY IN B.V. ASAFYEV’S ORCHESTRATION

2020 ◽  
Vol 1 (2) ◽  
pp. 95-102
Author(s):  
V. A. Aleksandrova ◽  
Keyword(s):  
The State ◽  
National Museum ◽  
State Archive ◽  
Central State ◽  
Saint Petersburg ◽  
Russian State ◽  
Archival Documents ◽  
History Of ◽  
Orchestral Score ◽  
First Time

The article is devoted to the history of an unrealized performance of M. P. Mussorgsky’s opera "Khovanshchina" orchestrated by B. V. Asafyev. On the basis of archival documents, stored in the Russian State Archive of Literature and Arts, the Russian National Museum of Music, Central State Archive of Literature and Art of Saint Petersburg, the Bolshoi Theatre Museum, most of which are introduced into scientific circulation for the first time, studied the circumstances under which the opera was planned to be staged in the State Academic Theatre of Opera and Ballet (nowadays — the Mariinsky Theatre). Fragments from the reports of the Artistic Council of Opera at the State Academic Theatre of Opera and Ballet meetings, the correspondence between B. V. Asafyev and P. A. Lamm, the manuscript "P. A. Lamm. A Biography" by O. P. Lamm and other unpublished archival documents are cited. The author comes to the conclusion that most attempts to perform "Khovanshchina" were hindered by the difficult socio-political circumstances of the 1930s, while the existing assumptions about the creative failure of the Asafyev’s orchestration don’t find clear affirmation, neither in historical documents, nor in the existing manuscript of the orchestral score.

The 1912 Duma Elections: The State, the Opposition and the Clergy

Orthodoxia ◽  
2021 ◽  
pp. 111-124
Author(s):  
F. A. Gayda
Keyword(s):  
The State ◽  
Election Campaign ◽  
Difficult Situation ◽  
The Public ◽  
The Press ◽  
History Of ◽  
The Government ◽  
The Russian Empire ◽  
First Time ◽  
The Church

This article deals with the political situation around the elections to the State Duma of the Russian Empire in 1912 (4th convocation). The main actors of the campaign were the government, local administration, liberal opposition and the clergy of the Orthodox Russian Church. After the 1905 revolution, the “official Church” found itself in a difficult situation. In particular, anti-Church criticism intensified sharply and was expressed now quite openly, both in the press and from the rostrum of the Duma. A consequence of these circumstances was that in this Duma campaign, for the first time in the history of Russian parliamentarianism, “administrative resources” were widely used. At the same time, the authorities failed to achieve their political objectives. The Russian clergy became actively involved in the election campaign. The government sought to use the conflict between the liberal majority in the third Duma and the clerical hierarchy. Duma members launched an active criticism of the Orthodox clergy, using Grigory Rasputin as an excuse. Even staunch conservatives spoke negatively about Rasputin. According to the results of the election campaign, the opposition was even more active in using the label “Rasputinians” against the Holy Synod and the Russian episcopate. Forty-seven persons of clerical rank were elected to the House — three fewer than in the previous Duma. As a result, the assembly of the clergy elected to the Duma decided not to form its own group, but to spread out among the factions. An active campaign in Parliament and the press not only created a certain public mood, but also provoked a political split and polarization within the clergy. The clergy themselves were generally inclined to blame the state authorities for the public isolation of the Church. The Duma election of 1912 seriously affected the attitude of the opposition and the public toward the bishopric after the February revolution of 1917.

Women, Writing and the Iraqi Ba'thist State

2020 ◽  
Author(s):  
Hawraa Al-Hassan
Keyword(s):  
Cultural History ◽  
The State ◽  
Woman Question ◽  
The Novel ◽  
Cultural Resistance ◽  
Cultural Revival ◽  
Counter Narratives ◽  
History Of ◽  
A Site ◽  
Material Form

The book examines the trajectory of the state sponsored novel in Iraq and considers the ways in which explicitly political and/or ideological texts functioned as resistive counter narratives. It argues that both the novel and ‘progressive’ discourses on women were used as markers of Iraq’s cultural revival under the Ba‘th and were a key element in the state’s propaganda campaign within Iraq and abroad. In an effort to expand its readership and increase support for its pan-Arab project, the Iraqi Ba‘th almost completely eradicated illiteracy among women. As Iraq was metaphorically transformed into a ‘female’, through its nationalist trope, women writers simultaneously found opportunities and faced obstacles from the state, as the ‘Woman Question’ became a site of contention between those who would advocate the progressiveness of the Ba‘th and those who would stress its repressiveness and immorality. By exploring discourses on gender in both propaganda and high art fictional writings by Iraqis, this book offers an alternative narrative of the literary and cultural history of Iraq. It ultimately expands the idea of cultural resistance beyond the modern/traditional, progressive/backward paradigms that characterise discourses on Arab women and the state, and argues that resistance is embedded in the material form of texts as much as their content or ideological message.

The First Nutcracker, the Enchantment of International Relations, and the Franco-Russian Alliance

2016 ◽  
Vol 34 (2) ◽  
pp. 119-149
Author(s):  
Damien Mahiet
Keyword(s):  
International Relations ◽  
Cultural History ◽  
Fairy Tale ◽  
Sleeping Beauty ◽  
The State ◽  
The Political ◽  
Revolutionary Era ◽  
History Of

Despite the lively scholarly debate on the place of The Sleeping Beauty (1890) in the political and cultural history of the Franco-Russian alliance in the 1890s, the representation of international relations in the first production of The Nutcracker (1892) has so far received little attention. This representation includes the well-known series of character dances in the second act of the ballet, but also the use of French fashion from the revolutionary era to costume the party guests, the mechanical dolls, the toy soldiers, and even Prince Nutcracker. The fairy-tale world offered a frame that not only promoted the absolutist aspirations of Alexander III's regime, but also solved the symbolic challenge of a problematic alliance between republican France and tsarist Russia. The same visual repertoire informed diplomatic life: four years after The Nutcracker, in 1896, the décor for the state visit of Nicholas II and Alexandra Feodorovna in France duplicated that of the fairy-tale world on stage.

The Will of Cardinal Giordano Orsini (ob. 1438)

Traditio ◽  
1996 ◽  
Vol 51 ◽  
pp. 257-286 ◽  
Author(s):  
Christopher S. Celenza
Keyword(s):  
Fifteenth Century ◽  
Cultural History ◽  
Italian Renaissance ◽  
Short Introduction ◽  
Renaissance Humanism ◽  
The Third ◽  
Textual History ◽  
History Of ◽  
The Will ◽  
First Time

There are many still unstudied aspects of the cultural history of early Quattrocento Rome, especially if we consider the years before 1443, the date of the more or less permanent re-entry into the civitas aeterna of Pope Eugenius IV. The nexus between the still ephemeral papacy and the emerging intellectual movement of Italian Renaissance humanism is one of these aspects. It is hoped that this study will shed some light on this problem by presenting a document that has hitherto not been completely edited: the original will of Cardinal Giordano Orsini. As we shall see, this important witness to the fifteenth century provides valuable information on many fronts, even on the structure of the old basilica of Saint Peter. The short introduction is in three parts. The first has a discussion of the cardinal's cultural milieu with a focus on the only contemporary treatise specifically about curial culture, Lapo da Castiglionchio's De curiae commodis. The second part addresses the textual history of the will as well as some misconceptions which have surrounded it. The third part contains a discussion of the will itself, along with some preliminary observations about what can be learned from the critical edition of the text here presented for the first time.

scholarly journals The Interaction of the State Museum Fund and Museums of the Tatar ASSR in the 1920s

2018 ◽  
Vol 15 (6) ◽  
pp. 754-763 ◽  
Author(s):  
Natalia V. Gerasimova
Keyword(s):  
Fine Arts ◽  
The State ◽  
Public And Private ◽  
Art Collections ◽  
Art Collection ◽  
State Museum ◽  
Scientific Principles ◽  
History Of ◽  
Private Museums ◽  
First Time

The article is devoted to one of the Soviet State’s policy directions at the first stage of its existence, aimed at the preservation of cultural va­lues and the formation of museum art collections. The poorly studied question about the features of this policy implementation is revealed on the example of the TASSR (Kazan Province — before May 1920), where in the 1920s a whole network of museums was created; almost in each of them, an art department was organized. The appeal to this topic is relevant in connection with the opening of a large number of public and private museums, which face similar challenges, as well as the active scientific activities of museums to study their own collections, in the framework of creation of the State Catalogue of the Museum Fund of the Russian Federation. For the first time, the article introduces into scientific circulation a number of sources, on the basis of which the main directions of this activity, as well as the museums’ art collections themselves, are analyzed. In the TASSR, the interaction with the State Museum Fund (SMF) was carried out by the Department for Museums and Protection of Monuments of Art, Anti­quities and Nature, employees of which (P.M. Dulsky and P.E. Kornilov) were engaged not only in organization of the artworks’ transferring to museums, but also in their selection. The article states that, thanks to the SMF, the Central Museum of the TASSR had the most complete and valuable art collection, and an interesting collection was formed in the Kozmodemyansky District Museum, which was part of the Kazan Province until 1920. This study shows that the SMF was an important and effective mechanism for the implementation of state policy in the field of culture: its activities contributed to the creation of provincial museums’ collections, based on scientific principles and aimed at presenting the history of fine arts development.

URBAN FOOTBALL PERFORMANCES: PLAYING FOR THE NEIGHBOURHOOD IN SENEGAL, 1950s–2000s

Africa ◽  
2014 ◽  
Vol 84 (1) ◽  
pp. 17-35 ◽  
Author(s):  
Susann Baller
Keyword(s):  
Young People ◽  
Cultural History ◽  
Urban Youth ◽  
Social Space ◽  
National Football League ◽  
Local Level ◽  
The State ◽  
The Social ◽  
History Of ◽  
The City

ABSTRACTIn Senegal, neighbourhood football teams are more popular than teams in the national football league. The so-called navétanes teams were first created in the 1950s. Since the early 1970s, they have competed in local, regional and national neighbourhood championships. This article considers the history of these clubs and their championships by focusing on the city of Dakar and its fast-growing suburbs, Pikine and Guédiawaye. Research on the navétanes allows an exploration of the social and cultural history of the neighbourhoods from the actor-centred perspective of urban youth. The history of the navétanes reflects the complex interrelations between young people, the city and the state. The performative act of football – on and beyond the pitch, by players, fans and organizers – constitutes the neighbourhood as a social space in a context where the state fails to provide sufficient infrastructure and is often contested. The navétanes clubs and championships demonstrate how young people have experienced and imagined their neighbourhoods in different local-level ways, while at the same time interconnecting them with other social spaces, such as the ‘city’, the ‘nation’ and ‘the world’.

scholarly journals Ulisse Aldrovandi’s Color Sensibility: Natural History, Language and the Lay Color Practices of Renaissance Virtuosi

2015 ◽  
Vol 20 (4-6) ◽  
pp. 358-396 ◽  
Author(s):  
Valentina Pugliano
Keyword(s):  
Natural History ◽  
Cultural History ◽  
Correct Identification ◽  
Unpublished Manuscript ◽  
Standard Nomenclature ◽  
Natural Knowledge ◽  
History Of ◽  
Artistic Patronage ◽  
First Time ◽  
The Relationship

Famed for his collection of drawings of naturalia and his thoughts on the relationship between painting and natural knowledge, it now appears that the Bolognese naturalist Ulisse Aldrovandi (1522–1605) also pondered specifically color and pigments, compiling not only lists and diagrams of color terms but also a full-length unpublished manuscript entitled De coloribus or Trattato dei colori. Introducing these writings for the first time, this article portrays a scholar not so much interested in the materiality of pigment production, as in the cultural history of hues. It argues that these writings constituted an effort to build a language of color, in the sense both of a standard nomenclature of hues and of a lexicon, a dictionary of their denotations and connotations as documented in the literature of ancients and moderns. This language would serve the naturalist in his artistic patronage and his natural historical studies, where color was considered one of the most reliable signs for the correct identification of specimens, and a guarantee of accuracy in their illustration. Far from being an exception, Aldrovandi’s ‘color sensibility’ spoke of that of his university-educated nature-loving peers.


A new species and notes on unusual natural history of Cladochaeta Coquillett, 1900 (Diptera: Drosophilidae)

Zootaxa ◽  
2018 ◽  
Vol 4410 (3) ◽  
pp. 483 ◽  
Author(s):  
FERNANDO DA SILVA CARVALHO-FILHO ◽  
GABRIELA PIRANI ◽  
THIAGO GECHEL KLOSS
Keyword(s):  
New Species ◽  
Natural History ◽  
Brazilian Amazon ◽  
First Record ◽  
The State ◽  
Female Specimen ◽  
Urban Garden ◽  
History Of ◽  
First Time ◽  
A New Species

A new species of Cladochaeta Coquillett (Diptera: Drosophilidae) is described, C. caxiuana sp. nov. from the Brazilian Amazon, based on 10 male and 10 female specimens obtained from nymphs of Sphodroscarta trivirgata (Amyot & Serville, 1843) (Hemiptera: Auchenorrhyncha: Aphrophoridae). The female of Cladochaeta atlantica Pirani & Amorim, 2016 is described based on specimens reared from spider egg sacs of the spider Cryptachaea migrans (Keyserling, 1884) (Araneae: Theridiidae) obtained in the state of Espírito Santo, Brazil. This is the first record of this fly genus attacking a spider egg sac. The species Cladochaeta sororia (Williston, 1896) is recorded for the first time from Brazil, based on specimens collected in an urban garden in the Amazon. In addition, an unidentified female specimen of Cladochaeta Coquillett, 1900 was obtained from the cocoon of a spider wasp of the genus Notocyphus Smith (Hymenoptera: Pompilidae). 

Sign in / Sign up

Export Citation Format

Share Document