70,523 research outputs found

    Archeologia klasyczna w poszukiwaniu swej tożsamości. Między przeszłością, teraźniejszą a historią sztuki

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    The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline.The article defines classical archaeology as one of the first and oldest branches of archaeology practised in Europe by stressing that interests in the relics of ancient civilisations have been deeply embedded in the cultural self-identification of various peoples of Europe. The author aims to recognize how the modern world values contribute to interpretation and conservation of the classical past, especially Greek art and architecture, alongside other ancient objects, and how the Western elites treated them in the past centuries. The issue of common roots of classical archaeology and history of art as well as their long-lasting relationships are also thoroughly discussed. Discrepancies between major research procedures of classical archaeology and art history are scrutinized, especially in terms of an arguable irrelevance of modern concept of art in relation to archaeological evidence. The role of museums in relation to art and antiquities trade is also raised. Furthermore, the author discusses classical archaeology within broader issues of contemporary archaeology. It is recognized that classical archaeology has certainly changed by resigning from the previously dominant connoisseur knowledge approach to artefacts, concentrated solely on the works of art often seen as autonomous entities devoid of the context of their production, meaning and perception. Finally, the author defines contemporary classical archaeology as a rapidly changing discipline, reformulating its research agenda and opening up to cooperation with numerous other disciplines. Nevertheless, this should not mean a wholesale rejection of its great legacy of being a history of ancient art. On the contrary, this traditions ought to be redefined and incorporated into contemporary research agenda of the discipline

    Approaches to the Medieval Self: Representations and Conceptualizations of the Self in the Textual and Material Culture of Western Scandinavia, c. 800-1500

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    The self and how it relates to its surrounding world and history is a main concern of humanities and social sciences. This book addresses the issue by discussing various modes of studying and defining the self, based on a wide span of sources from medieval Western Scandinavia, ca. 800-1500, such as archaeology, art and architecture, documents, literature, and runic inscriptions

    Wooden sacral architecture in Greater Poland. An interdisciplinary case study of the church in Domachowo

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    Sacred wooden architecture in Poland is a huge and still unrecognised research problem. It covers a number of issues of interdisciplinary character: from the properties of building materials and carpentry techniques, through constructionand architectural-spatial solutions, to cultural and natural conditions. Hence, the best way to study this problem is interdisciplinary research. The necessity of cooperation of representatives of various scientific disciplines became the basis for creating a team to study the wooden church of St Michael the Archangel in Domachowo, so far dated to 1568. As researchers representing various disciplines (including archaeology, history, art history, history of architecture, architecture, architectural conservation), we cite sources and research that allow us to formulate a thesis that the past of the Domachowo church dates back to the 14th century. Moreover, we present the research and methodological problems inscribed in the aforementioned church building, understood as a whole. Such a multifaceted approach allows us to redefine the current knowledge about the church in Domachowo.Sacred wooden architecture in Poland is a huge and still unrecognised research problem. It covers a number of issues of interdisciplinary character: from the properties of building materials and carpentry techniques, through constructionand architectural-spatial solutions, to cultural and natural conditions. Hence, the best way to study this problem is interdisciplinary research. The necessity of cooperation of representatives of various scientific disciplines became the basis for creating a team to study the wooden church of St Michael the Archangel in Domachowo, so far dated to 1568. As researchers representing various disciplines (including archaeology, history, art history, history of architecture, architecture, architectural conservation), we cite sources and research that allow us to formulate a thesis that the past of the Domachowo church dates back to the 14th century. Moreover, we present the research and methodological problems inscribed in the aforementioned church building, understood as a whole. Such a multifaceted approach allows us to redefine the current knowledge about the church in Domachowo

    Articulating the Ḥijāba: Cultural Patronage and Political Legitimacy in al-Andalus

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    In Articulating the Ḥijāba, Mariam Rosser-Owen analyses for the first time the artistic and cultural patronage of the ‘Amirid regents of the last Cordoban Umayyad caliph, Hisham II, a period rarely covered in the historiography of al-Andalus.; Readership: All interested in the history, literature, art, architecture and archaeology of medieval Islamic Iberia, relations with the Maghrib, the organisation of artistic workshops, and the patronage and meaning of artwork

    Review of Leonard Barkan\u27s Berlin for Jews: A Twenty-First-Century Companion

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    Berlin for Jews: A Twenty-First-Century Companion seems to be directed at an insider community of Jews who care about Jewish history, especially those considering a trip to Germany. The book\u27s meandering look at Berlin is broader and more nuanced than a travel guide, with close attention to how Jews of the nineteenth and early twentieth centuries understood their own relationships to Jewishness. Still, it remains unclear who beyond a small subset of travelers will be interested in Leonard Barkan\u27s writing on Berlin. That the author is not an expert in either German or Jewish Studies has both merits and drawbacks. As a professor of comparative literature, art and archaeology, classics, and English, Barkan has written a type of memoir for a general audience that scholars in German or Jewish Studies might not venture or desire to write. The first two chapters use a cemetery in Prenzlauer Berg and a neighborhood in Schöneberg as windows into specific eras of history. Chapters 3 through 5 present Barkan\u27s own special Jewish pantheon of Berlin Jews: salon hostess Rahel Varnhagen, art collector James Simon, and writer Walter Benjamin, whose legacies are intertwined with the history, people, and places of Berlin. Barkan concludes with a brief discussion of Holocaust memorialization and tourism, with a few poignant pages on Jewish daily life in Nazi Germany. One highlight throughout is the book\u27s emphasis on architecture and works of art. [excerpt

    Articulating the Ḥijāba: Cultural Patronage and Political Legitimacy in al-Andalus

    Get PDF
    In Articulating the Ḥijāba, Mariam Rosser-Owen analyses for the first time the artistic and cultural patronage of the ‘Amirid regents of the last Cordoban Umayyad caliph, Hisham II, a period rarely covered in the historiography of al-Andalus.; Readership: All interested in the history, literature, art, architecture and archaeology of medieval Islamic Iberia, relations with the Maghrib, the organisation of artistic workshops, and the patronage and meaning of artwork

    CLAS 280A – 01 = ARTH 281A – 01 = ANTH 280U – 01 ART IN THE ANCIENT GREEK WORLD

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    This course explores the art, archaeology, and culture of the Greek world from prehistory to the Roman period. The course focuses on architecture, sculpture, painted pottery, and wall painting as its main object classes and situates artistic and stylistic developments within their social, political, and historical context. We will consider issues of style, regional developments, technique and craftsmanship, trade and economy, and art forms in various contexts. Although focused on art and archaeology, the course will also address key cultural topics including the household, funerary culture, gender, ritual, economy, and cultural heritage. Among key sites to be studied are Knossos, Mycenae, Athens, Corinth, Vergina, Delphi, Poseidonia (Paestum), Cyrene, and Olympia. Prerequisites: None. No prior background in Classics, archaeology, or art history is required

    Designing contested heritage within the sacred context. The AΧΕΙΡΟΠΟΙΗΤΟΣ monastery, Cyprus

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    The analysis of the Aχειροποίητος monastery shows the superimposition of different buildings: a domed church with a central plan, built in late Byzantine times over the ruins of an early Christian basilica, enlarged by the addition of three successive narthexes, and therefore transformed into a longitudinal basilica. The name Aχειροποίητος, literally “made without hands”, referred to a sacred icon hosted therein. A walled enclosure surrounds the church and contains the monastery, which developed in subsequent phases, with different additions, demolitions and restorations. We outlined the formation process of the complex, from the V cent. Basilica, to the transformation of the monastery into military barracks in the 1970s, as a premise for the restoration project. Recently the Department of Antiquities assigned the monastery to the Girne American University for its restoration and it is urgent to accomplish some statical interventions. The management of this site, hence the political situation of northern Cyprus, represents an interesting case study on the contested heritage issue. Nevertheless, the heritage management in Cyprus, for the complex political situation of the island, bears more difficulties than in other UE countries, but we should consider that every heritage site has someway a contested character. An architectural project was experimented, according to the typo-morphological approach of the Muratorian Italian School, based on the principle that new buildings should be the continuation of the old ones, without imitating them, but following their formation process, as the last step of an ongoing process. We did not conceive the new architecture as an object contrasting with the context, but following the full understanding of the processual transformations of the site, it was possible to design the new addition to the monastic building as a living organism, in conformity with the sacred context

    The time it takes to make: design and use in architecture and archaeology

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    Book synopsis: Design and Anthropology challenges conventional thinking regarding the nature of design and creativity, in a way that acknowledges the improvisatory skills and perceptual acuity of people. Combining theoretical investigations and documentation of practice based experiments, it addresses methodological questions concerning the re-conceptualisation of the relation between design and use from both theoretical and practice-based positions. Concerned with what it means to draw 'users' into processes of designing and producing this book emphasises the creativity of design and the emergence of objects in social situations and collaborative endeavours. Organised around the themes of perception and the user-producer, skilled practices of designing and using, and the relation between people and things, the book contains the latest work of researchers from academia and industry, to enhance our understanding of ethnographic practice and develop a research agenda for the emergent field of design anthropology. Drawing together work from anthropologists, philosophers, designers, engineers, scholars of innovation and theatre practitioners, Design and Anthropology will appeal to anthropologists and to those working in the fields of design and innovation, and the philosophy of technology and engineering

    Pagoda Desecration and Myanmar Archaeology, 1853–86

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    Examination of the British occupation of the Shwedagon pagoda in 1853 CE in the context of the formation of the Epigraphic Office from which today's Department of Archaeology, Ministry of Culture has emerged
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