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The purpose of this research is to study the peculiarities and details of the appearance of the girls from the «cover» of the twentieth century, in particular: what was different and what was common in the images of the Ukrainian and foreign masters while working on the cover of books and magazines as well as to determine the functions of women’s image in Ukraine and other countries. The methodology of the research is based on the use of cultural, structural, comparative, and analytical methods of study of female images in the works of illustrators, book publishers and magazines of the 20th century. Scientific novelty consists in expanding the notion of female images in the cover pictures of books, illustrations for articles and fashion magazines of the twentieth century. A comparative analysis of the images of Ukrainian girls and foreign women gives us an idea of the different levels of development and self-sufficiency of women of that time. Conclusions. The article examines the stereotypes of women's images and forms a special type (or rather types) of representation of the female body on the covers. It studies «traditional images» of women, the subtleties of appearance of female images on magazine covers and identifies relevant images for drawing portraits on the cover.
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Kreka is a settlement near Tuzla created by the development of industry initiated by the Austro-Hungarian administration in Bosnia and Herzegovina. In parallel with the development of industrial buildings, residential settlements in Kreka were being built, known as Columns or Workers' Colonies. Simultaneously with the development of the industry and settlement of Kreka, recording of characteristics of Kreka began with phototechnics, ie. cameras. The first photographs of the Kreka area were recorded in 1894. The photographs show the industrial infrastructure of Kreka and the residential units in Kreka in the years 1894 and 1895. The basis for recording the Kreka area during the Austro-Hungarian administration is a photo album with photographs of Kreka and Tuzla, owned by the Skrobic family of Tuzla. The photo album was edited by Stjepan Skrobic, a construction engineer who has spent most of his professional career in Tuzla and where he has a legacy. Photographs were made in sephia tone, measuring 17 X 12 cm in a cartoon frame on a cardboard substrate, measuring 20.5 X 15.5 cm. Kreka photographs are also available at the Austrian National Library in Vienna and were recorded in 1898. The photographs from the library have very similar features to those of the Skrobic family, and were made using the same technique, in the same format.
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The pictures are frequently living in networks. Pictures like to stand by other pictures. In the following study I analyze how the picture-network is realised, which are the connections between the network science (Barabási Albert-László) and the visual studies, how the Gilles Deleuze terms like re-, de-, territorialisation and Rhizom can be reinterpreted in this context and how the picture-hubs are formed.
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There are still to this day a large number of gaps in post-war Memel history in the Lithuanian SSR due to the fact that the subject was neglected prior to 1989 for ideological reasons. Until then, the history of German minorities had remained taboo along with accounts of the mass emigration out of the USSR. As part of a survey and collection project, the Institute of Baltic History and Archaeology in Klaipėda collated private image sources that contain material relating to cultural and social spheres within the investigation period, with the aim of closing and discussing historiographical gaps. The photographs document private strategies that existed beneath the level of large-scale political decision-making. They provide insights into recreational past times, religious customs, private environments as well as relationships between genders and generations. A further theme highlighted by the collection is the mass emigration movement that took place from 1958 to 1960. In the second section of the text, specific images are introduced and discussed. The aim of including these concrete examples is to demonstrate the extent to which private photographs may qualify as objective factual sources in developing our understanding of everyday social history.
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The streets in the historical centers of the cities of Western Europe and the world are of particular interest in the 1960s and 1970s. They set out a number of important principles: (a) preserving the historical substance; (B) increasing public functions and preserving the most valuable architectural and urban features; (C) arrangement of pedestrian zones - PZ; (D) turning PZ into entertainment and trading areas; (E) turning PZ into areas of culture; (E) creating uninterrupted public spaces at the ground level.Modern city space solutions develop further these trends and put the quality of life and its social, economic, political and enviramental aspects of urban spaces in the focus of interest of designers and all urban planners. Political aspects include: (a) planning tools; (B) financial security; (C) communication and (d) monitoring, and social aspects: (a) organizing events, typical places, museums, street artists; (B) creating attractive meeting venues; (C) walking and just hanging out, enjoying the free time; (D) children's entertainment; (E) an environment of social equality. Enviromental aspects include: (a) air quality and hygiene; (B) quality of the urban environment and cleanliness; (C) noise pollution; (D) freedom and enjoyment of movement (public and private transport, pedestrian and bicycle areas). The economic aspects of quality of life include: (a) revitalization of physical and spatial assets (quality, accessibility, efficiency to increase their competitiveness and value); (B) tourism (culture, heritage, shops, entertainment, specific places); (C) entertainment and leisure; (D) work (business, services, commerce, entertainment).
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Digital Captivity. İklim Sanat, Ankara, December 6, 2018 - January 4, 2019
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The article presents itself the way of looking for a strategy which would allow to actualize, analyze and interpret archival photographs. In a focus there are images of medieval temple architecture from the territory on which the civilizations of East and West are converged. As the main source a collection of photographs from the Kosovo and Bitola vilayets of the Ottoman Empire is taken. It was acquired in 1914 by the famous linguist E. A. Volter (1856–1941) in Skopje for the Department of Ethnography of the Russian Museum of His Imperial Majesty Alexander III. Comparing images with each other and with other similar photographic artifacts of the early 20th century the author noted their common subject referred to the heritage of the Serbian dynasty Nemanichi ruled in the 14th century. The photographs thus visualize the phenomenon of Old Serbia, defined as a folklore-ideological construct which has become a part of the national program of the Kingdom of Serbia in the 19th century. Using the example of three photographic scenes, the historical fate of this heritage, its phenomenology and semantics are traced, as well as its role and significance for the modern Serbian society is revealed. Based on this, the conclusion about the deep connection between the temple heritage and the national myth, Serbian identity and its representation is drawn. The problem of interethnic contradictions is touched upon. Interpretation of photographs is carried out by their correlation with folklore and narrative sources within the framework of an integrated approach. The results of the analysis allow to conclude that the materials of the collection significantly contribute to the comprehension of a number of historical and ethnological issues, including global problems of our time, such as the problem of preserving the world cultural heritage.
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The article analyses photographic discourse in contemporary Russian dramatic texts as a specific way of perceiving and constructing the reality, as a means of communication, and as a metalanguage. The conceptualization of photographic images in the dramatic text enabled the scrutiny of specific artistic ploys and photographic techniques applied. The article reveals the nature of correlation between the visual perception of a photograph incorporated in the dramatic text, the characters’ utterances and the author’s remarks. The photographic image fosters the rejection or the “appropriation” (recognition in oneself) of the Other by the characters. It also allows for the implementation of the communicative mechanisms used to create the hyperreality of the photo universum. The performative potential of the photographic discourse of the dramatic text materializes itself in such a hyperreality.
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Photography has only recently come to be considered, besides being a creative work protected under copyright law, also as a possible element of “cultural heritage”. Even in Italy, with its traditionally pervasive regulation of cultural property, while the issue was raised in the 1970s it only entered the legal framework on cultural heritage in the 1990s. During the same period, photographs began to be considered as “cultural goods” under the European legal framework, albeit with mixed attitudes. This article provides a summary of this legal evolution, including an analysis of possible effects of the 2017 reform of Italian cultural property export law on this specific area, and discussing the impact of current regulation on the photography market.
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This reflective paper draws on an evaluation of current online pedagogy but also the authors practice as an artist that revolves around forming a relationship between image and sound. As such ‘Listening’ and ‘Looking’ are used as a broad structure for six short essays that draw on experiences of moving to online delivery to consider the virtual classroom as an amorphous, fluid space that can be both problematic but also present opportunities for innovative teaching and learning. In addition to the six reflective essays; Latency, Volume, Spaces to Speak, Lebenswelt, Screenshare and The Thingness of Making, The Thingness of Teaching the article draws on an anonymous survey of second and third (final) year undergraduate students and an online conversation group initiated with colleagues that teach at undergraduate and post graduate level at both Manchester School of Art and the Royal College of Art. Rather than propose a definite set of conclusions the article suggests that the online platform is inherently a visual one, but using listening as a way of understanding it could open up the possibility of creating a teaching space that is concurrently difficult to grasp but potentially easily accessible and less hierarchical.
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The main goal of this study is to establish a relationship between the use of the portrait and the concept of celebrity, at the end of the 19th century, taking as a corpus of analysis a set of requests for photographs sent by letter to Zola, from correspondents located in different parts of the world. It is intended, through a qualitative analysis of this collection, to identify the functionalities and contexts within this set of correspondents requested in these images, in order to understand the role that photography has taken in the symbolic construction process of this figure as a celebrity.
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The present study is dedicated to a hitherto unpublished photo from the Mavrodinov family archives, which is part of the mural programme of an unknown church. The upper end of the plate featured an inscription ‘St Spiridion’ on the emulsion. There are three pencil inscriptions on the reverse of the photo: „St Spiridon“?“, „Where?“, „Melnik?“ However, in the course of the present study, it emerged that the photo in question corresponds to the information left by André Grabar and Asen Vasiliev about the St George the Lesser church in Nessebar. It is a small, single-aisled structure with one apse and a prothesis and diakonikon niche at the eastern wall. On the basis of the hitherto known photos, the preserved murals and the published plan, researchers conditionally date the construction of the church in the Ottoman period. The research of Ivanka Gergova, Emanuel Moutafov and Georgi Gerov date the murals in the very beginning of the 17th century. Most of the murals were detached in 1946 and today are part of the funds of the National Institute of Archaeology and Museum of the Bulgarian Academy of Sciences. The church was demolished the same year. We owe most of the information about the mural paintings’ distribution in the church to the research of André Grabar, who visited Nessebar in 1920, and to Asen Vasiliev, who studied St George the Lesser in 1946. However, their information does not overlap completely. The photo is even more valuable because today we know of only small fragments of the murals in the altar that have been preserved. One discerns from the photo that the upper register on the north wall in the altar ended with the scene of Pentecost. The Vision of St Peter of Alexandria is below. The scene „Manifestation of Christ before the Myrrh-bearing women“ was depicted on the east wall, above the prothesis niche. According to the photo, Christ in the Tomb was represented in the prothesis niche. Between that niche and the apse St Archdeacon Stephen was featured.
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Review: Jacek Małczyński, Krajobrazy Zagłady: Perspektywa historii środowiskowej [Landscapes of the Holocaust: The Perspective of Environmental History], Wydawnictwo Instytutu Badań Literackich PAN, Warsaw 2018. In her review Tomczok highlights the innovative nature of Jacek Małczyński’s monograph, the implementation of environmental concepts and theories from cultural studies in the Polish context, and especially the material that he presents to portray the Holocaust from different perspectives. One key strength of his book is the refreshing take on the remains of extermination camps and works of art that refer to them, especially art that has an ecological dimension. Małczyński also reflects on the meaning of disanthropisation (dehumanising) the history of the Holocaust and the consequences that result from it. The book allows us to sense that the author does not only write but he conducts interviews, goes on walks, takes photographs, analyses works of art, runs an archive, and thus – working on a variety of material, he uses methods from different academic disciplines. Still, the symbolical dimension of genocide and ecocide that emerges from his project does not forcibly impose ideological conclusions. It remains an invitation to engage in a participative project that is assumed to be work in progress.
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Polish laws prohibiting the promotion of communism (Dz. U. Journal of Laws 2016 no. 744, as well as 2017 nos 1389 and 2495) reawakened controversies on Red Army monuments and memorials on Polish territory and their belonging to the nation’s cultural heritage. To explore this troublesome heritage Cembrzyńska uses the Red Army’s military cemeteries as an example. She examines their role in communist propaganda and outlines the post-1989 debates concerning memorial sites dedicated to Soviet soldiers. She concludes by exploring Wojciech Wilczyk’s photographs of Red Army cemeteries in his series “Architektura symetryczna” [Symmetrical Architecture], focusing on architectural and sculptural elements that articulate an intention of ideological persuasion.
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The creativity of political prisoners in various fields such as: poetry, prose, painting, then correspondences, sketches, photographs, etc. in Yugoslav prisons, over time it has also acquired the value of archival records. This material documents the concern, ideal, and sacrifice of patriotic people who suffered political imprisonment because of the national ideals they held. The exposure and recording of this documentation is an important contribution to national history, as it takes on the weight of a valuable archival material for future generations and our historiography. This material is quite special, due to the circumstances and specificities in which it was created, thus it carries with it what is called the “seal of time”. A part of this archival property has already became part of the fonds of our State Archives, On the other hand, some of them have been made public through articles in various magazines and newspapers, mainly poetry and short prose, while the rest have been published as thematic books and memories from prison time, etc. These documents, together, meet the criteria of archival records and material, which should be arranged and treated as a special collection/fonds important for the national political memory. Recording, collection, preservation and reflection of this creativity for the public, among others, for future generations will be a very important archival material, as evidence of a time and period of our history towards the struggle for freedom.
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The photographic material from the legacy of Marica Vojnović from Visoko (1892-1982) has been part of the holdings of the Regional Museum in Visoko since 1981. The material is dated to the period from the end of the 19th century to the seventies of the 20th century. It contributes to the study of the development of photography, emphasizes the importance of photography as a medium and points to the emergence of photographic studios in Bosnia and Herzegovina. Based on the division of photographic material from the legacy of Marica Vojnović, the paper provides an insight into the names of 23 photographers and photographic studios that operated in Bosnia and Herzegovina: Sarajevo, Višegrad, Visoko, Nevesinje and Zavidovići, and whose photographs are represented in the legacy. Among them are the names of the first Sarajevo studios, but also those less known to the public, such as the names of photographers Grimberg, Seraphine Sperling, Cabinet Portrait and Visit Portrait who came to Bosnia and Herzegovina as traveling photographers after 1876. The paper draws attention to the first academic photographers on domestic soil, their participation in foreign exhibitions as pioneers in documentary, reportage, art and film photography. The photographic material from the legacy of Marica Vojnović is an inseparable part of the history of Bosnia and Herzegovina’s photographic heritage and its significance is manifold.
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The article reveals the imperfection of ways to use existing approaches to the study of the cultural infrastructure in Ukraine, in particular when we apply methods offered by the UN and the EU as well. The research evidences that both foreign and Ukrainian experts are taking the first steps to ascertain the condition of cultural infrastructure in Ukraine and currently there is no objective complete database. Positive characteristics of different ways of measuring the state of cultural infrastructure are proposed to unite and Ukraine should be considered as the base country for testing scientific research methods, which will facilitate the establishment of scientific cooperation in the field of cultural policy and the coordination of joint decisions for cross-border partnership. One of the additional important parameters for the study of cultural infrastructure is its relevance to the overall political plans for the development of culture in the European community.
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This paper problematizes the subversive icon of pregnancy and offers a linear overview of its various iterations in juxtaposition to the culture of fear, starting with Vlasta Delimar, whose installation Pregnancy (Trudnoća, 1987), inscribes her in the feminist and women’s art history of the Yugoslav/Croatian context as the first domestic artist who employed photo-documentation, or photo-performance, to document her own pregnancy. She performed her pregnancy in the manner of a goddess, sexualizing it by means of the Baubo pose. Next, the paper addresses the interpretations of the subversion achieved by the pregnant belly in Sanja Iveković’s work Lady Rosa of Luxembourg (2001). The sequence is further contextualized by the distressing confessional of Martina Križanić, a younger generation artist, who visualized the subversive representation of motherhood (Changing Booths, installation, 2017) from her own perspective and without fear, in the first local exhibition about pregnancy Woman – Pregnant Woman – Mother: Green Spheres and Necropolitics (Žena – trudnica – majka: zelene sfere i nekropolitike, Vladimir Bužančić Gallery, Zagreb 2017, curated by Anita Zlomislić).
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