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Aspect of time in forensic photography

Aspect of time in forensic photography

Author(s): Jakub Kovalík / Language(s): English Issue: 1/2019

Humans perceive time as an indefinite dimension which has a definitive
impact on the life of an individual. Time represents a key element in developing photographs but it also can be metaphorically presented in photographic pictures. During the course of history people tried to represent time in various forms. In 1826 when photography itself was invented by the Niepce brothers as they developer the first photographs that lasted more than just a couple of minutes we can say that the meaning of the phrase „frozen in time“ was given a whole new meaning. Each photograph represents a selective section of perceived reality at a given time. The main purpose of our paper is to connect the aspect of time with methods of forensic photography which by default serves as a tool for crime scene investigators but it also can connote fine art or metaphorical contexts. Based on theoretical resources followed by content analysis of photographers and their specific works that revolves around the aspect of time we create a series of photographs that indirectly or by content point out the element of time itself.

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Offices
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Offices

Author(s): Renske Vos,Wouter Werner / Language(s): English Issue: 1/2020

A while after the Americans left, when the building had already become the former American Embassy, it was refurbished as an art gallery. The gallery is curated by West under the banner ‘our embassy’ usually preceded by a hashtag. As an art gallery, the building is open to visiting audiences, who are offered exhibitions, tours, special events and a cafe´. The gallery needs to square its own agenda with the identity of the building, which is reflected, for instance, in the new name of the space. The building is reclaimed as ‘ours’ on behalf of the gallery and its audience, but it is still referred to as an ‘embassy’, even when it no longer is, at least not in an official sense. Meanwhile, visitors can explore anywhere in between the building’s past and present identities. The tension between these identities attracts: we are here, because the Americans have left, but also because they were here before us.

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Walls
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Walls

Author(s): Rose Sydney Parfitt / Language(s): English Issue: 1/2020

Brutality + Nostalgia in the Age of Terror

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Underbelly: Making Online Hate Visible
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Underbelly: Making Online Hate Visible

Author(s): Saara Särmä / Language(s): English Issue: 1/2020

Visual art forms are effective in making previously unseen issues and experiences visible. Here I present an installation called Underbelly and reflect on the phenomena it makes visible, namely hate mail and online misogyny. I argue that these silencing tactics should be taken seriously as questions of everyday security because they can prevent academics from doing our job, particularly as scholar-publicists.

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Salvator Mundi, a művészeti világ Megváltója

Salvator Mundi, a művészeti világ Megváltója

Author(s): Gizella Horváth / Language(s): Hungarian Issue: 4/2020

Art – in a certain sense - was born in the era of Renaissance. At least two explicative paradigms about art have appeared since the Renaissance, and we might be witnessing the appearance of a new one. The story of Salvador Mundi, found in 2005 and attributed to Leonardo, highlights the artworld’s expectations, possibilities, and challenges on the one hand; while on the other hand, it shows how art institutions function. These aspects may be of interest mainly to art historians. However, if a curator decides to exhibit a contemporary copy of Salvator Mundi in a museum, his/her gesture raises art philosophical issues.

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ÜNLÜ RESSAM REMBRANDT’IN MEVLEVİ DERVİŞLERİ İSİMLİ GRAVÜR ÇALIŞMASININ DEĞERLENDİRİLMESİ

ÜNLÜ RESSAM REMBRANDT’IN MEVLEVİ DERVİŞLERİ İSİMLİ GRAVÜR ÇALIŞMASININ DEĞERLENDİRİLMESİ

Author(s): Fatih Başbuğ / Language(s): Turkish Issue: 17/2020

Besides the visual and sociological structure of art of painting, there is also a documentary conception. This documentary understanding is based on the way that painters deal with the age they live with in their own perspective and present it to humanity. Rembrandt, the great painter of the Netherlands of the 17. century, has reflected religious and social events in his works as he works in his own age. However, it can be perceived as an indication of its humanistic structure that it is capable of acting on a subject of a different faith than its own religious belief. In the subject of the paper, four dervishes belonging to the religion of Islam have come together and chat. It is important to that Rembrandt’s work, one of the greatest painters of the world's art.

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Umjetnička likovna djela kao poticaj likovnom izražavanju inkluzirane djece - studija slučaja

Umjetnička likovna djela kao poticaj likovnom izražavanju inkluzirane djece - studija slučaja

Author(s): Damir Markulin / Language(s): Bosnian Issue: 16/2021

In this paper we have explored the influence of sculptures and paintings by the author of this article as an incentive for motivation and artistic work of preschool-age and school-age children with disabilities in inclusive education through the application of the qualitative research method of observation in all three phases of the method of aesthetic transfer: perception, reception, and reaction. The research was carried out at CIERI (Centre for research, education, development, and training) at the Hercegovina University in Mostar on a sample of 15 children with disabilities in inclusive education, whereof 7 boys (2 preschool-age and 5school-age children) and 8 girls (3 preschool-age and 5 school-age children). In research by using free conversation, we have examined attitudes and opinions about the use of works of fine art as an incentive for motivation and artistic expression of children on a sample of three experts in education and rehabilitation and three parents of preschool-age children with disabilities in inclusive education. By applying the method of analysis and comparative analysis we have determined positive influences of use of works of fine art on the motivation and artistic creation of children with disabilities in inclusive education regardless of age: influence on increased motivation to work, choice of motives, more intensive use of colors and tonal painting, playful composition solutions and the making of complex art volumes. The research has determined that the boys prefer making three-dimensional shapes more than the girls. The research has shown positive attitudes and opinions of the educational and rehabilitation experts and parents towards the use of the mentioned works of art as an incentive for the artistic creation of children.

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POP ART’IN GELİŞİMİNDE SERİGRAFİ BASKI TEKNİĞİNİN ETKİSİ

POP ART’IN GELİŞİMİNDE SERİGRAFİ BASKI TEKNİĞİNİN ETKİSİ

Author(s): Buse KIZILIRMAK,Murat Aslan / Language(s): Turkish Issue: 54/2020

After the Second World War, the consumption styles that differed with the radical changes that took place in all areas of art and life, led to the Pop Art movement. Pop Art, born as a stance against Dadaism and Abstract Expressionism, has created its own existence by adding an artistic meaning to ordinary objects of daily life. Pop Art movement, which emerged in England with the influence of mass media, started to show itself in America simultaneously and famous artists of the period used ordinary objects that were a part of their daily life in their artistic productions. It will not be coincidental that they prefer the serigraphy printing technique intensely as an artistic expression tool that will support their composition consisting of unit repetitions. In addition, political and social events played a role in the effects of serigraphy in the development of Pop Art. Serigraphy printing, which is related to ideology and allows to produce the desired number of works, was preferred to create an original, effective and striking expression language. In this research, the effects of the screen printing technique on the development of Pop Art aimed at this extent have been examined in a general framework.

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AVANGARD MANİFESTOLARIN EĞİTİM PROGRAMLARINDAKİ YERİ

AVANGARD MANİFESTOLARIN EĞİTİM PROGRAMLARINDAKİ YERİ

Author(s): Naciye Bozdoğan Akbaş,Melek Gökay / Language(s): Turkish Issue: 58/2021

Artistic and historical acts, formations and trends appeared during historical process was affected and reflected economic, political and cultural codes in the period when they were introduced and shaped. Every period in the history, art always changed and developed based on variable world conditions, and it will be influenced by the future time as much as it was influenced by its past time. 20th century was a period when there was successive mass wars, revaluations, economic crises, rapid technological developments, and individuals’ psychic trauma caused by these. In this period precisely, manifesto a political discourse which feeds especially from the depression periods emerged in the early of 20th century. The manifesto, which means the announcement of the political beliefs and aims of a social movement and the written text, shaped by the French Revolution, began to be used by art movements and artists in the 20th century. This period was the time of human being’s material and nonmaterial collapse, and artists worked for liberation, to construct a new world, to inform people, to explain their own art through publishing manifests and then art started to rise suddenly. Avantgarde manifests in this period covered all sorts of art disciplines, challenged all of the traditional art perception and made a modern breakthrough in art. Artists from many different disciplines who wanted to join movements with their avantgarde manifests published in 20th century to liberate art and life, and to promise new world, came together to start reconstructing life and art. Avantgarde manifests which were alone a text as well as an event, assisted people to resolve the code of the time when they were published and to understand modern time. In this context, this study was emphasized to examine and evaluate the place and importance of the avant-garde manifestos published in the first half of the 20th century in the education program.In this research, some questions were tried to enlight such as "What is the historical process of the avant-garde manifestos and the place of the avant-garde manifestos in the education program?"This research is conducted for art students of art cantered higher education with the objective to comprehends manifests in theory and practical courses, and to understand manifests related time, trends, artists, and their works, to produce original work in the artistic creativity process, to improve their visual literacy and writing manifest skills, to reveal the effects of writing to creativity and critical thinking and their attitudes to courses.

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Visceral Resistance and The Vulnerability of Breathing

Visceral Resistance and The Vulnerability of Breathing

Author(s): Jana Kukaine / Language(s): English Issue: 2/2021

The COVID-19 pandemic invites us to re-examine the relations between aesthetics and social, environmental, and bodily issues. This essay highlights these interconnections by focusing on the vulnerability of breathing from a visceral point of view. Merging theoretical accounts with investigations of selected artworks by Latvian artists Dace Džeriņa and Rasa Jansone, the aesthetic apprehension of breathing allows for the advancement of feminist politics for a liveable and breathable life and bodily flourishing.

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Drawing the Virus. The Representation of COVID-19 in Italian Comics

Drawing the Virus. The Representation of COVID-19 in Italian Comics

Author(s): Michele Sorice,Simone Antonucci / Language(s): English Issue: 2/2021

Through the perspective of Cultural Semiotics, this article aims to show how Italian comic book creators have represented the tragic event of the coronavirus pandemic during the first lockdown (between March and May 2020) imposed by Giuseppe Conte’s government. By analyzing the works produced during this timeframe, we attempt to identify the main ways the pandemic was depicted. We will focus on the representation of time and space, the double status of the virus (as an agent and condition), and creators’ different textual strategies.

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Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali

Między minimalizmem a melodramatem. Przestrzeń filmowa w kinie rumuńskiej nowej fali

Author(s): Adam Domalewski / Language(s): Polish Issue: 36/2020

The starting point for considering the means of creating and designing a film space in Romanian New Wave cinema is the thesis that Romanian film art in the 21st century is an artistic response to the times of communism and that images of the post-socialist architectural space – their multi-faceted functionalization in film mise-en-scéne – are the key method of evoking memories of the past. The article discusses, via the example of movies by Crisitian Mungiu, Corneliu Porumboiu and Cristi Puiu, (1) ways of depicting the “closing” of film characters in the cramped interiors of their apartments and (2) film images of individuals’ alienation in public spaces, both of them allusively referring to the times of the oppressive Nicolae Ceaușescu regime. The most important cinematographic devices used by the authors of the Romanian New Wave cinema include: seemingly static shots, which, however, are filmed with a camera that is constantly gently moving and observing, and tableau shots. A common feature of all the considered works is the panopticism of the film world: the private and public spaces designed in them easily become a place of constant, panoptical observation. In the summary, the author remarks on and briefly discusses the coexistence of the aesthetics of minimalism / realism with the melodramatic elements in the cinematic structure of Romanian New Wave films.

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Zmieścić się w ramach. Trzy próby definiowania romskiej sztuki współczesnej w Polsce

Zmieścić się w ramach. Trzy próby definiowania romskiej sztuki współczesnej w Polsce

Author(s): Monika Weychert Waluszko / Language(s): Polish Issue: 61/2019

The concept of contemporary Roma art was introduced into the critical apparatus of aesthetics by Timea Junghaus in 2007, when she curated Paradise Lost, the first Roma Pavilion at the Venice Biennale, an unprecedented act and a strong political statement. It is therefore more intriguing than ever to observe attempts to redefine the idea of „contemporary Roma art”. A single exhibition – Kali Berga, one event, the same group of artists and the same set of artworks has inspired two contradictory concepts: Wojciech Szymański anticipated the concept of „post-Roma art”, while Anna Mirga-Kruszelnicka came up with the idea of the „art of the Roma”. As a cultural expert, I analyse the conceptualisation process of the phenomenon of contemporary Roma art.

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Then, Now, and Later: The Transition of Documentary Photography

Then, Now, and Later: The Transition of Documentary Photography

Author(s): Weronika Saran / Language(s): English Issue: 2 (246)/2021

Review of: Weronika Saran - Michelle Bogre: Documentary Photography Reconsidered: History, Theory and Practice, London and New York: Bloomsbury Visual Arts, an imprint of Bloomsbury Publishing, Plc, 2019, 264 pages.

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The Virus as a Catalyst for Culture? Sociological Reflections Using as Example the Musical Practices during the COVID-19 Pandemic

The Virus as a Catalyst for Culture? Sociological Reflections Using as Example the Musical Practices during the COVID-19 Pandemic

Author(s): Barbara Jabłońska / Language(s): English Issue: 1/2021

The time of the pandemic has redefined most areas of social life, including the world of music in the broad sense. Paradoxically, the virus itself turned out to be a kind of culture catalyst. The aim of this article is to present—at the exploratory level—the subject of people’s practice of music during the COVID-19 pandemic. The text will discuss selected aspects and processes related to the practice of musical. The main focus will be on showing how the musical life of society— confined to the Internet out of necessity—has evolved during the pandemic.

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Mitologia komiksu — uwagi krytyczne. Esej recenzyjny

Mitologia komiksu — uwagi krytyczne. Esej recenzyjny

Author(s): Rafał Mielczarek / Language(s): Polish Issue: 3/2020

This essay was envisaged as a dialogue with Paweł Ciołkiewicz, author of the book Moje komiksy, Vol. 1, Od Tajfuna do Supermana [My Comics, Vol. 1, From Typhoon to Superman] (2019), who has for years been fascinated by the phenomenon of comics and made them the subject of scholarly reflection. When analyzing the history and contemporaneity of the comic book, he uses concepts from many fields familiar to sociologists, such as cultural anthropology, philosophy, history, psychology, and religious studies. In discussion with Ciołkiewicz, the author of the article addresses the following topics: (1) comics in the grid of academic concepts; (2) comics as an illustration of the fate of popular culture in the Polish People’s Republic and the USA; and (3) the comic book as myth. In summary, he recalls Ciołkiewicz’s statement that for him comics are not only an object to be studied but also an instrument for breaking through the veil of obviousness.

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Specyfika kina graficznego na przykładzie "Hulka" Anga Lee

Specyfika kina graficznego na przykładzie "Hulka" Anga Lee

Author(s): Tomasz Żaglewski / Language(s): Polish Issue: 04/2019

In the article the author is trying to define the characteristics of a graphic cinema as one of the main trends in nowadays comic book film adaptations production. One of the main elements of this trend is an ambitious effort to adapt the formal aspects of comic books for a movie screen in the most accurate way that is possible. By using one of the first examples of graphic cinema - Ang Lee’s “Hulk” — the author is trying to reconstruct its mechanisms of the following the comic book language and find out where the limits of adaptation between comic book and film are.

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"Po co tyle hałasu". Polski komiks muzyczny

"Po co tyle hałasu". Polski komiks muzyczny

Author(s): Jadwiga Lelek,Konrad Sierzputowski / Language(s): Polish Issue: 04/2019

This article is the result of research on the condition of Polish musical comics. The basis of considerations are the comics of Marcin Podolec: Smoke and Fugazi Music Club, two works of Krzysztof Owedyk: Blix and Żorżet and You will be frying in hell, as well as the worst comic of the year by Maciej Pałka and Only calmly Bartek Glazy. The text aims to show the relationships between Polish popular music and comics. Draws attention to the ways of presenting musical subcultures and individual portraits in comic culture. It also introduces the role of memory and nostalgia in the construction of illustrated musical stories in which the real order mixes with the imaginary. The article points to the common points of these works and takes into account the most important shortcomings of all six comics. It highlights the marginalization of the role of women, both in the creative process and the discussed cultural texts. Using the theories of Jacques Ranciere and Robin, James raises the question of male dominance in the Polish music comic, while shedding light on the Polish music scene.

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O matko Polko! Wizerunek matki i sposób postrzegania macierzyństwa i rodzicielstwa w mediach. Prezentacja wyników badań

O matko Polko! Wizerunek matki i sposób postrzegania macierzyństwa i rodzicielstwa w mediach. Prezentacja wyników badań

Author(s): Lidia Rudzińska-Sierakowska / Language(s): Polish Issue: 02/2019

The article is based on research results from the project ‘Celebrities in the Polish media and social space. Interdisciplinary study’. The author focuses on celebrity mothers and „performative parenting” (broadcasting every aspect of parenting experiences such as pregnancy, childbirth and motherhood on social media). It also indicates how celebrities are represented as mothers in and by the popular media.

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Obcokrajowcy w kulturze flamenco: problem negocjacji tożsamości

Obcokrajowcy w kulturze flamenco: problem negocjacji tożsamości

Author(s): Jadwiga Romanowska / Language(s): Polish Issue: 1/2021

The research problem presented in this text is the negotiation of transcultural identity as exemplified by foreigners enrolled in flamenco dance schools in Seville who are or aspire to be professional flamenco dancers and compete on the Spanish labour market in the flamenco industry. Foreigners are a definite majority at Seville’s dance schools, whose existence depends on them. By deciding to spend a prolonged period of time in Seville, they enter a field of transcultural exchange and become involved in power relations of subordination and domination. Being a subordinate group, foreigners need to negotiate their place in the flamenco community on an ongoing basis. Their situation and relations developing in Seville are well-described through the categories of transculturation/transculturality and transcultural identity. Foreigners wishing to engage in the professional world of flamenco in Seville or, more broadly, in Spain, construct their identity by negotiating its individual elements. Three of them are discussed in the text: expression, movement and body. They are self-defining factors and elements that determine the exclusion and/or “discrimination” of indigenous people and foreign viewers.

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