Models, services and security in modern online social networks

Modern online social networks have revolutionized the world the same way the radio and the plane did, crossing geographical and time boundaries, not without problems, more can be learned, they can still change our world and that their true worth is still a question for the future

Safety and Reliability - Safe Societies in a Changing World

The contributions cover a wide range of methodologies and application areas for safety and reliability that contribute to safe societies in a changing world. These methodologies and applications include: - foundations of risk and reliability assessment and management - mathematical methods in reliability and safety - risk assessment - risk management - system reliability - uncertainty analysis - digitalization and big data - prognostics and system health management - occupational safety - accident and incident modeling - maintenance modeling and applications - simulation for safety and reliability analysis - dynamic risk and barrier management - organizational factors and safety culture - human factors and human reliability - resilience engineering - structural reliability - natural hazards - security - economic analysis in risk managemen

Pierre Bourdieu's sociology of culture: critical investigations

The first part of this thesis is concerned with the exegesis of Bourdieu's theory and the second part with critical investigations of his cultural analysis. In the interpretative analysis, I shall show that it is only through an understanding of his work as a whole that it is possible to grasp his now famous work on cultural reception. In our societies, the certified knowledge of professors and the consecrated representations of Tate Gallery artists serve to underpin the world through convincing the dominated of the intellectual poverty of their challenges. Moreover, I shall show that there is a stimulating and rich tension in Bourdieu's sociology, particularly in his explorations of how economic interests are culturally legitimated. Bourdieu is a classic historical materialist, yet one who denies some of the abstractions of sate orthodoxies. This means that - in the interests of truth - his theory forces the squabbling protagonists of different traditions to live together.Bourdieu has an impressive reassessment of the logic of a minortty elite culture in which art is hijacked to fit purposes often remote from the internal meanings of the texts themselves. In the second part of the thesis, it is argued that Bourdieu's sociology of culture has not entirely extricated itself from these same ideological tentacles. Firstly, in the case of Impressionism he overemphasises its character as a rupture in techniques and has not been sufficiently attuned to its dependence on popular subjects and popular sources. Secondly in the case of middlebrow and popular literature, it is suggested that he has failed to describe adequately the nature of the popular cultural field and has also neglected the character of the cultural marginalisation of women. Finally, a study of literary consumption in Scotland challenges Bourdieu's conclusions at some points. By considering these specific substantive areas, I hope to stimulate a Bourdieusian approach

2018

The Yearbook mirrors the annual activities of staff and visiting fellows of the Maimonides Centre and reports on symposia, workshops, and lectures taking place at the Centre. Although aimed at a wider audience, the yearbook also contains academic articles and book reviews on scepticism in Judaism and scepticism in general. Staff, visiting fellows, and other international scholars are invited to contribute

Paul Cézanne and the Making of Modern Art History

The application of art historical methodologies to the study of Paul Cézanne in the 1930s brought about significant changes in the way the artist's art and biography were understood. Art history was institutionalized as an international academic discipline under the pressure of the ideological struggle that preceded the Second World War. This process promoted the incorporation of modern art as part of the disciplinary field. The use of categories of analysis developed for the examination of historical manifestations helped to assimilate modern art into a narrative that extolled the continuity of the Western tradition. This dissertation examines the writings and careers of art historians who published books on Cézanne in 1936 in Paris: Lionello Venturi, the first catalogue raisonné of the work of the artist, Cézanne, son art, son oeuvre; René Huyghe, a monograph, Cézanne; and John Rewald, Cézanne et Zola, which became the accepted biography of the artist. In addition, Rewald's photographs of the sites Cézanne painted were instrumental in introducing space (as perspective) as a category for the analysis of the artist's landscapes, thus helping to establish its link to the Western tradition. The site photographs epitomize the new approach to documentation and the changes in museography that accompanied the transformation of art history. The arrival of émigré art historians to the United States favored the identification of the hegemonic art historical discourse with an anti-totalitarian ideology. Alfred H. Barr Jr., the director of the Museum of Modern Art, New York, organized in 1936 Cubism and Abstract Art. The exhibition, which established Cézanne as a key figure in the development of modern art, associated modern art with the fight against Fascism. This dissertation studies a previously ignored period of the history of the institutionalization of art history and provides arguments for the debate on the epistemological foundations of the discipline and its relationship with museography and art criticism. By questioning these foundations, the dissertation disentangles Cézanne's work from the ideological constructs that were affixed to his art by the interpretations proposed in the 1930s and suggests new avenues for understanding it

2018

The Yearbook mirrors the annual activities of staff and visiting fellows of the Maimonides Centre and reports on symposia, workshops, and lectures taking place at the Centre. Although aimed at a wider audience, the yearbook also contains academic articles and book reviews on scepticism in Judaism and scepticism in general. Staff, visiting fellows, and other international scholars are invited to contribute

Poetic Parameters of the Polylogue of Ukrainian Lyrics of Late Modernism With the Antique Heritage

A polylogue with the antique heritage is a prominent feature of Ukrainian lyrics of late modernism. It is realized through symbolistic, neoclassical and neoromantic models of artistic transformation. The specifics of symbolistic model were determined in research of P. Tychyna and D. Zagul’s works with implicit and explicit antiquity. The motives connected with ideas of cosmism and kalokagathia are domineering. Demythologisation and myth creation tendencies are clearly manifested in works with Prometheus mytheme by P. Tychyna. The neoclassical interpretation is presented by two variants: “Kyiv” neoclassics with aesthetic dominant; and “Prague”, represented by E. Malaniuk lyrics with historiosophical dominant. The complexity of the dialogical model of neoromantic poetry (O. Vlyzko, M. Bajan, E. Pluzhnyk) is caused by noticeable influence of the avant-garde aesthetics and poetics on the one hand, and emerging canon of socialistic realism, on the other. The neoromantic model is characterized by the paradigm of heroic type characters; but also by a distinct inclination for demythologization of precedent images and motives, their “turning inside out”, parody, ironic comprehension