No description available.

<p> For more than fifty years, the <i>Meditationes Vitae Christi (MVC) </i> and the most famous of its illustrated manuscripts (Paris, Biblioth&egrave;que nationale, Ms. ital. 115) have been employed by scholars to exemplify late medieval female spirituality. The mid-fourteenth century ilhuminated manuscript of the <i>Meditationes</i> in the Snite Museum of Art at the University of Notre Dame that is the subject of this dissertation provides valuable evidence of the popularity of the famous text originally written for a woman religious and its appropriation by urban laity. As an example of the shorter text, in Italian, with 43 chapters plus prologue, its 48 large colored miniatures and the decorated initials that begin each chapter, point to a wealthy patron quite unlike the Poor Clare to whom the <i>MVC</i> text was initially directed. The style of the miniatures indicates that the manuscript was illuminated ca. 1350 in Bologna, site of the pre-eminent European university for the study of law.</p><p> The dissertation explores how the <i>Meditationes Vitae Christi </i> was adapted for an educated and prosperous husband and wife. While written in the vernacular, the Snite <i>MVC</i> illuminations bear a strong resemblance to the illustrations in fourteenth-century Bolognese legal manuscripts. Despite the vivid and often unconventional imagery of the text that is designed to stimulate the reader's affective response to its re-telling of the story of the life of Christ, the miniatures tend to preserve traditional iconographies. The superficially conventional Snite miniatures, which often seem indifferent to the visual specifics of the text, serve to align it with orthodox doctrine and underscore the veracity of its contents. </p><p> An analysis of the illuminations of the Snite <i>MVC</i> reveals a particular attentiveness by the illuminator to the representation of male exemplars that would appeal to an elite educated patron, who might have been a judge or lawyer, or law professor. The Infancy miniatures in particular depict St. Joseph in a prominent role and dressed as a late medieval professional man The dignified representation of St. Joseph is consistent with his scriptural appellation as a "just man " By attending to the themes of justice and wisdom in both the <i>MVC</i> text and in its scriptural sources, the Snite miniatures prove to be much richer in meaning than first glance would suggest, and their affinity with legal manuscript illumination hardly accidental.</p><p> The iconographic analysis of the Snite miniatures is complemented by the study of the social and intellectual context in which the manuscript was produced. Despite the seeming simplicity of the miniatures, the illuminator and his advisor prove to be theologically sophisticated and scripturally literate. By means of the illuminations, the <i>MVC</i> is made compatible with the religious and professional concerns of the elite laity, providing access for men wielding worldly authority into the life of Christ in which powerful and learned men play largely negative roles. The Snite manuscript responds to the lay patron's desire to see in the example of Christ and the events of his life confirmation of late medieval social, juridical, and political structures. In its miniatures, it provides saintly models for the educated laity desirous of reconciling their Christian commitments with the demands of an active, urban, professional life.</p>

<p> This dissertation utilized a Delphi methodology in discovery of the perceived outcomes and teaching strategies that are common for art history survey courses taught at higher education institutions throughout the United States. A group of art history faculty, chairs, and current researchers focused on studying teaching and learning within art history weighed in on their perspectives through three mixed method survey rounds, ranking the importance of various themes developed through the responses. The results discover that there is still a strong preference for a Socratic seminar teaching strategy, while the participants also highlighted other outcomes and strategies that are important areas for future research in the discipline.</p>

The aim of this study is to explore the process that shaped the identity of peripheral art museums in Israel during decade the 1990s. This process is examined though the eyes of the curators who artistically guided and directed two of these museums, the Janco Dada Museum in Ein Hod and the Ein Harod Museum of Art at Kibbutz Ein Harod. Both museums are non-profit organizations and this study is the first to seek to understand the identity of these two small but significant art museums located in villages in the north of Israel. The research examines the meaning of the identity of the museums by drawing upon theories of museology, centre and periphery, personal and group identity and organization identity. This research is based on knowledge that is personal, unique and subjective. It is conducted using an inductive approach towards gathering, analysing and interpreting data. The research utilizes a case study approach in order to provide an explanation for the cultural organization of the museum and for the attitude of the curators. This is documentary research that is based on only one source, the museum's archives which are examined according to multi- method procedures for gathering data. The evidence showed that in both cases the process of constructing the identity of the art museums links the personal views as well as the professional aims of the curators and their activities. These activities link the identity of the art museum to the natural setting. In addition, these activities, in both cases, link the identity of the museum to the relationship of the centre and periphery. In addition, both curators wished to differentiate their museum from the centre. In the research process new links were created between diverse scientific disciplines such as museology and social science and theories derived from different fields such as art history, sociology, and centre and periphery studies. These links, contribute new insights into our understanding of museology.

Syftet med denna studie har varit att undersöka förhållandet mellan den svenska hembygdsrörelsen och länsmuseerna, för att ta reda på om det finns ett fungerande samarbete mellan dem, vad samarbetet innefattar, hur attityderna gentemot samarbete är och om länsmuseerna har något formellt ansvar för att bedriva samarbete med hembygdsrörelsen. Studien har genomförts huvudsakligen genom litteraturstudier samt två enkätundersökningar och presenterar resultat för varje län i Sverige. De genomförda undersökningarna har visat på att det i varje län generellt finns välfungerande samarbeten av någon omfattning mellan de båda parterna. Samarbetena kretsar kring ett antal olika områden såsom vanligtvis rådgivning, kursverksamhet, projekt, administration med mera. Attityderna till samarbete uppfattas från båda parter generellt vara goda, de anser att de kan komplettera varandra och gemensamt kan dra nytta av välfungerande samarbeten. Länsmuseerna har inget formellt ansvar för att samverka med hembygdsrörelsen men det finns ett antal dokument som uttrycker att samarbete är önskvärt och bör eftersträvas.

Post-structuralist theories of literary criticism such as deconstruction have provided useful tools with which to analyze "texts" but have also contributed to (and are symptomatic of) the widening gap that is experienced today between reader and "text," between "real life" and aesthetic experience, between interpretive practice and critical theory. Many contemporary theorists and teachers interested in bridging this gap are searching for new critical and pedagogical methodologies, for alternatives to deconstruction. A careful examination of Sartre's "progressive-regressive" method in terms of its potential for application in aesthetic theory and criticism will provide a valuable contribution to current discourse on relevant textual and socio-cultural issues. / Sartre's progressive-regressive method enacts a fusion of Marxist sociology and existential psychoanalysis. Sartre employed this method as a tool for both socio-historical and psycho-biographical research. The progressive-regressive method has three dialectical stages: (1) phenomenological description, (2) regressive analysis, and (3) progressive synthesis. / My purpose in this dissertation is to extract and modify those aspects of Sartre's method which might be applied in critical discourse on aesthetic experience. To achieve this goal, I employ the progressive-regressive method as the organizing principle of my investigation. / Part One of my study is devoted to theory and includes (1) a phenomenological description of the origins and purposes of Sartre's method, (2) a regressive analysis of Sartre's own development and implementation of the method as a tool for socio-historical and psycho-biographical research, and (3) a progressive synthesis as I impose the necessary modifications upon Sartre's method that are required for the project at hand. Part Two is devoted to practical demonstration: here I implement the progressive-regressive method as a tool for critical discourse on aesthetic experience in three practical demonstrations (1) on Samuel Beckett's novel How It Is, (2) on Simone Martini's Annunciation Altarpiece, and (3) on a theme in the literature of the Marquis de Sade. / Source: Dissertation Abstracts International, Volume: 53-11, Section: A, page: 3938. / Major Professor: E. F. Kaelin. / Thesis (Ph.D.)--The Florida State University, 1992.

Poète proche du surréalisme, écrivain autobiographe et ethnologue africaniste, Michel Leiris (1901-1990) fut aussi l'ami des plus grands artistes du XXe siècle - André Masson, Joan Miró, Alberto Giacometti, Pablo Picasso, Wifredo Lam ou bien Francis Bacon. Les rapports amicaux, affinitaires et électifs entre l'écrivain et les peintres et sculpteurs ont épousé des formes diverses et ont suscité, chez le premier, l'écriture de nombreux commentaires sur l'œuvre des seconds. Dévoilant des exercices d'écriture divers - le poème, l'article de revue, la préface ou l'essai -, les écrits sur l'art expriment une singularité commune, incarnée par la profonde subjectivité à partir de laquelle Leiris témoigna de sa vision sur l'œuvre de ses amis artistes. Il s'agit donc, dans cette thèse, d'interroger la sensibilité artistique singulière du poète dans le cadre de l'histoire de l'art. Moins spécialiste de l'art qu'amateur d'art, au sens strict du terme - celui qui aime -, Michel Leiris a fait de son écriture, un lieu d'expérimentation et de quêtes à l'égard de la création artistique de son temps. En retraçant les circonstances des rencontres avec les artistes, puis, en étudiant les amitiés entretenues avec ces derniers, il pourra être démontré en quoi Leiris incarne une personnalité singulière et emblématique, dans le champ spécifique de l'histoire de l'art. Son écriture sera, en outre, reliée aux expériences toujours plus nouvelles, auxquelles l'écrivain participa durant tout le XXe siècle - le surréalisme, l'ethnographie ou l'engagement politique. L'expression de sa sensibilité pourra ainsi être replacée au centre des débats épistémologiques de l'histoire de l'art et des sciences humaines et sociales. Il s'agira, en effet, de questionner les quêtes de " présence ", de réalisme, de modernité, de beauté, de sacré ou la figure de l'altérité dans l'art, au prisme des problématiques inhérentes à la discipline de l'histoire de l'art, tout en considérant le rapport sensible et subjectif de Leiris aux œuvres. / A poet close to surrealism, an autobiographer and an Africanist ethnologist, Michel Leiris (1901-1990) was also the friend of the greatest artists of the twentieth century - André Masson, Joan Miró, Alberto Giacometti, Pablo Picasso, Wifredo Lam or Francis Bacon. The relationships between the writer and painters or sculptors gave rise with the former to the writing of numerous commentaries on the work of the latter. Revealing different writing exercises - poem, review article, preface or essay -, the writings on art express a common singularity of the poet within the scope of art history. Less an expert in art than a lover of art, Michel Leiris has made his writing a place of experimentation and quests towards the artistic creation of his time. By relating the circumstances of the meetings with the artists, then, by studying the friendships maintained with the latter, it can be demonstrated how Leiris embodies a singular and emblematic personality in the specific field of art history. Moreover, his writing will be linked to the ever renewed experiments in which the writer participated throughout the twentieth century - surrealism, ethnography or political commitment. Thus, the expression of his sensitivity can be placed at the centre of the epistemological debates of art history and the Humanities and Social Sciences. Actually, it will be a matter of questioning the quests of "presence", realism, modernity, beauty, sacred and the figure of the otherness in art, through issues inherent in the discipline of art history, while considering Leiris's sensitive and subjective link with the works of art.

<p> The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. This pattern can and should be broken, allowing the stone to be what all objects truly are: windows to the lives that that objects have lived, just as all physical things are; evidence of an experience part of the world went though, whose meanings have and continue to be part of a wider network of object-meanings. The underlying purpose of this thesis is to use the Grand Cameo to prove this point. It does so by asking why the Grand Cameo came into being using Aristotle's four-part fragmented "Why" to widen this meaning broadly enough to expand the scope of what cause means from the vernacular use of the term to include material, formal, efficient and final causes. This allows for a sufficiently satisfactory exploration of many elements of the ancient world. </p><p> This thesis comprises an introduction, five chapters, and a conclusion. The first chapter discusses the material sardonyx itself, its possible origin points and how it would have been seen and used in its time in both the India and the west. It discusses the development of trade routes through the Indian ocean and Hellenistic and Egyptian ties to the east which were later taken over by Rome, as well as the Ptolemies, who they replaced. The second chapter discusses the relationship between Rome and Egypt, how their imagery and materials were usurped, and how this connects to the cameo, a medium that became Roman. Chapter three discusses Rome's absorption and reuse of Hellenistic kingdoms, their people and their culture to see how these influenced images of Roman Rulers in the transition from the Republic to the Julio-Claudians. The fourth chapter details the nature of Julio-Claudian power in Rome, the roles the family took over, and how they made themselves essential to the state, especially in how this relates to imagery from the Grand Cameo. Finally, the fifth chapter allows for the exploration of final cause by using a process of elimination based on living number of family members to establish a coherent narrative for the stone's scene, allowing an interpretation of message and intent. It seems most likely to be justifying the handing over of power to Emperor Claudius as intended by the heavens regardless of the plans of his relatives. </p><p> A roughly chronological understanding of this stone's role from being plucked from the ground to the imperial court is presented by assessing available material. The expansive nature of the question "Why?" allows for an explanation of the stone both broader and more satisfactory than the intentions of one emperor alone, however interesting. The Grand Cameo intersects with the highly international and interactive dynamics of the ancient world as well as specific elements therein which earlier interpretations do not allow for room to explore. </p><p>

No description available.

<p> Ceramic technologies of Myanmar and South China were analyzed in order to determine characteristic traits and technological origins. Given Myanmar&rsquo;s geographically strategic position between China and Southwest Asia, its ceramic history needs to be reevaluated among the distinct traditions of Southeast Asia. The ceramics of Myanmar show evidence of imitation China and Southwest/Central Asia using locally sourced materials, giving support to Dr. Myo Thant Tyn&rsquo;s theory of the convergence of the Chinese and Southwest/Central Asian ceramic traditions in Myanmar. </p><p> Seven ceramic technologies of Myanmar were analyzed: celadons, black-glazed jars (lead-barium and lead-iron-manganese glazes), brown ash glaze ware, green and opaque white-painted glaze ware and turquoise-glazed, coarse-bodied white earthenware. Celadon glazes and brown glazes were made with ash, similar to the Chinese celadon tradition. Green-and-white opaque ware utilized copper-green colorant glaze decoration with tin and lead oxides as opacifying agents on low-fired oxidized bodies. Both these traditions are probably derived from Southwest Asian ceramic and glass traditions. High-soda, copper-turquoise glazes on coarse white earthenware bodies are influenced by Southwest and Central Asian low-fire ceramic and glass traditions. Black-glazed, &ldquo;Martaban&rdquo;-style storage jars were variable in body and glaze technology and are still of indeterminable technological origin. A phase-separated glaze was analyzed that had a similar phase-separated appearance to northern Chinese Jun ware. </p><p> Additionally, two black-glazed ware types from South China with vertical streaking phase separation were analyzed: Xiba kiln of Sichuan and Jianyang kilns of Fujian. The recently discovered and excavated Xiba kiln made experimental and striking stoneware bowls similar to Jianyang &ldquo;hare&rsquo;s fur&rdquo; ware. Reverse engineering the manufacture of Xiba kiln ware determined that Xiba was an innovative site that imitated Jianyang ware aesthetically but not technologically. Xiba and Jianyang do not have any connection to the six Burmese glaze styles, however, future analyses of Southeast Asian ceramics can use the data for comparison and variability research.</p><p>