בחרו את שפת העמוד:
שפה נוכחית
כניסה עם גוגל
כניסה עם פייסבוק
Crossing cultures
להגדלת הטקסט להקטנת הטקסט- ספר
| כותר |
Crossing cultures : conflict, migration and convergence : the proceedings of the 32nd international congress in the history of art (Comité international d'histoire de l'art, CIHA), the University of Melbourne, 13-18 January 2008 / edited by Jaynie Anderson. |
|---|---|
| מהדורה |
1st ed. |
| מוציא לאור |
Carlton, Victoria : The Miegunyah Press |
| שנה |
2009 |
| הערות |
Includes index. |
| הערת תוכן ותקציר |
Intro -- Title -- Copyright -- Contents -- Preface -- 1 A Melbourne Conversation at the Town Hall on Art, Migration and Indigeneity: What Happens when Cultures Meet? -- 1 An Introduction to the Conversation -- 2 Playing between the Lines: The Melbourne Experience of Crossing Cultures -- 3 Art in Transit: Give and Take in Dutch Art -- 4 Found in Translation -- 5 Home and Away: Works of Art as Citizens and Migrants -- 6 The Travels of a Mi'kmaq Coat: A Nineteenth-Century World Art History and Twenty-First-Century Cultural Politics -- 2 Creating Perspectives on Global Art History -- 7 Joe Burke's Legacy: The History of Art History in Melbourne -- 8 The Art of Being Aboriginal -- 9 On Global Memory: Reflections on Barbaric Transmission -- 3 Art Histories in an Interconnected World:Synergies and New Directions -- 10 Beyond the National, inside the Global: New Identity Strategies in Asian Art in the Twenty-First Century -- 11 Not Just Images but Art: Pragmatic Issues in the Movement towards a More Inclusive Art History -- 12 The World at Stake: CIHA after Melbourne -- 13 Global Collections for Global Cities -- 4 The Idea of World Art History -- 14 Introduction 1 -- 15 Introduction 2 -- Methodological and Ideological Perspectives -- 16 Neuroarthistory as World Art History: Why Do Humans Make Art and Why Do They Make It Differently in Different Times and Places? -- 17 Towards Horizontal Art History -- 18 Global Aspects on Johnny Roosval's Concept of the -- 19 Putting the World in a Book: How Global Can Art History Be Today? -- Empirical Perspectives -- 20 From Ideology to Universal Principles: Art History and the Visual Culture of the Balkans in the Ottoman Empire -- 21 From Nation via Immigration to World Art: Concepts and Methods of Brazilian Art Theory. 22 Universalism and Utopia: Joseph Beuys and Alighiero Boetti as Case Studies for a World Art History -- 23 Genius Loci: The Revenge of the Good Savage? -- 24 A Survey of the Current State of Art History in China -- 25 Recent Study in Ancient Chinese Art History in China -- 26 Objects without Borders: Cultural Economy and the World of Artefacts -- 5 Fluid Borders: Mediterranean Art Histories -- 27 Fluid Borders, Hybrid Objects: Mediterranean Art Histories 500-1500, Questions of Method and Terminology -- 28 Building Identities: Fluid Borders and an 'International Style' of Monumental Architecture in the Bronze Age -- 29 Byzantine Art in Italy: Sixth-Century Ravenna as a Matrix of Confluence? -- 30 'Image-Paradigms' as a Category of Mediterranean Visual Culture: A Hierotopic Approach to Art History -- 31 The 'Golden Age' in Al-Andalus as Remembered, or How Nostalgia Forged History -- 32 Fluid Picture-Making across Borders, Genres, Media: Botanical Illustration from Byzantium to Baghdad, Ninth to Thirteenth Centuries -- 33 Greek Painters Working for Latin and Non-Orthodox Patrons in the Late Medieval Mediterranean: Some Preliminary Remarks -- 34 Sailing through Time and Space: How Cyriacus of Ancona Rediscovered the Classical Past -- 35 Multi-Ethnic Rome and the Global Renaissance: Ethiopia, Armenia and Cultural Exchange with Rome during the Fifteenth Century -- 6 Hybrid Renaissances in Europe and Beyond -- 36 Introduction -- 37 Hybrid Renaissance in Burgundy -- 38 Heterotopia in the Renaissance: Modern Hybrids as Antiques in Bramante and Cima da Conegliano -- 39 'Gran Cosa è Roma': The Noble Patronage of Architecture in Early Sixteenth-Century Portugal -- 40 A Bastard Renaissance? Benedikt Ried, Master IP and the Question of Renaissance in Central Europe -- 41 Difference, Repetition and Utopia: Early Modern Print's New Worlds. 42 The Carnivalesque Renaissance -- 43 'Opinione Contraria': The Anatomy of Pathos in an Early Drawing by Rosso Fiorentino -- 44 The Hermaphrodite in the Garden -- 45 Reframing the Renaissance Problem Today: Developing a Pluralistic Historical Vision -- 46 Do We Still Need a Renaissance? -- 7 Cultural and Artistic Exchange in the Making of the Modern World, 1500-1900 -- 47 Introduction -- 48 Cultures and Curiosity -- 49 Human Sacrifice as Symbolic Capital: Images of the Violated Aztec Body for a Changing World, 1500-1900 and Beyond -- 50 Public Identity and Material Culture in Dutch Batavia -- 51 'Exposure to Your Ways': China, the Dutch and Early Modern Vision -- 52 The Global Rembrandt -- 53 Images of Bathing Women in Early Modern Europe and Turkey -- 54 Global Encounters: Conventions and Invention in Hans Burgkmair's Images of Natives of Africa, India and the New World -- 55 Patterns of Domestication: Exotic Animals, Plants and People in Australian and European Decorative Arts -- 56 Dressing Up like the Cannibals? Adriaen Hanneman's Portrait of Princess Mary Stuart in a Tupi Feather Cape -- 57 Tupi Featherwork and the Dynamics of Inter cultural Exchange in Early Modern Brazil -- 58 The Visual Subplot: Local Art, Global Trade and the Socio-Ethics of Exchange, Amsterdam 1580-1680 -- 59 Visual Elaborations: Fausto Zonaro's 'Ottoman' Self-Portraits -- 60 The Brush and the Burin: Mogul Encounters with European Engravings -- 61 Imperial Exchanges of Goods and National Identities: Victorian and Swadeshi Views of Crafts under the Raj -- 62 'A Glance into a New World': Three Approaches to Japan, by Christopher Dresser, Siegfried Bing and Justus Brinckmann -- 63 George French Angas: Colonial Artist at Large -- 64 The Wanderer, the Slave and the Aboriginal: Augustus Earle in Rio de Janeiro and Sydney in the 1820s. 65 Exchange, Gifting, Identity and Writing History in Fin-de-Siècle Tahiti -- 8 Representations of Nature across Cultures before the Twentieth Century -- 66 Introduction -- 67 Capturing Nature's Inner Truth: The 'True-View' Concept in China, Korea and Japan -- 68 Beauty and Truth in Nature: Japan and the West -- 69 Landscape as Placeness in the Art of India -- 70 Exoticism at Home: The Artist as Explorer in Nineteenth-Century Sweden -- 9 The Sacred across Cultures -- 71 Introduction -- 72 Plato's Dilemma: Art, Religion and Amnesia -- 73 'Strangers in a Strange New Land': How the Immigrant, the Coloniser and the Conqueror Used Sacred Architecture to Establish Identity -- 74 Holy Topographies: Aboriginal Art from the Desert Regions and Its Spiritual Relation to Western Perceptual Painting -- 75 Visualising Ancestor Spirits: Name Tablets or Portraits? -- 76 Houses of God, Gates of Heaven, Doors of Grace: Changes in Perception of Lutheran Church Interiors as 'Holy Places' -- 77 Secular Florentines and Sacred Images -- 78 'God Is Love': Representations of Christianity in Indigenous Art from Ngukurr, South-East Arnhem Land -- 79 Sacred Country: Ancient Footprints, New Pathways -- 80 A New Conceptualisation of Australian Religious Iconography: The Case of David Wright -- 81 From Silence to Multiple Incorporation: Art and Afro-Brazilian Religions -- 82 Trees Growing in the Wilderness and Statues of Miracle-Working Madonnas -- 83 A Case of Spiritual Colonisation? The Production and Reception History of a Contentious Altarpiece in Jukkasjärvi Church in Lapland, Sweden -- 84 Chartres, Chichester and Ajanta: The Neo-Medievalism of Eric Gill -- 85 A Pantheon Rediscovered? -- 86 Sanctity at the Interstices of Fine Art and Popular Culture: The Case of Ester Helenius -- 87 Intersections of Time and Place in Books of Hours -- 88 A Form of Succession. 89 A New Plague Saint for Renaissance Italy: Suffering and Sanctity in Narrative Cycles of Saint Roch -- 90 Sites of Convergence and Divergence: Private Devotional Sites in Seventeenth-Century Rome -- 10 Materiality across Cultures -- 91 Introduction -- 92 Lapis Lazuli: Moving Stones at the Heart of Power -- 93 Materials, Origins and the Nature of Early Italian Painting -- 94 Routes and Meaning: The Use of Red Marble in Medieval Central Europe -- 95 Alabastrum Effoditur Pulcherrimum and Candissimum: The Influence of Imported Southern Netherlandish Sculpture on the Reception of Alabaster in Central Europe in the Sixteenth Century -- 96 Mosaic Dreaming: Materiality, Migration and Memory -- 97 Outsiders' and Arnhem Landers' Material Exchanges -- 98 Painting Practice in the Philippines: Two Institutionalised Practices and Their Materials and Techniques -- 99 A Convergence of Cultures: Max Meldrum's Art Theory and Practice -- 100 The Gamelan: Melding Conservation Issues with Javanese Spiritual Beliefs -- 11 Memory and Architecture -- 101 Introduction -- 102 Multiple Memories: Lives of the Taj Mahal -- 103 The Alhambra in Granada and the Memory of Its Islamic Past -- 104 Curzon, Kedelston and Government House, Calcutta -- 105 Remembering the Middle Ages: Responses to the Gothic Revival in Colonial New Zealand -- 106 Travelling within Memory: Vicarious Travel and Imagined Voyages -- 107 Moving Finnish Houses: The Knowledge of Objects in Former Finnish Karelia -- 108 Nation, Style, Memory: The Cracow Experience -- 109 Komar and Melamid: The Future Memory of International Modernism -- 110 Traces of Utopia: On the Architectural Renderings Published in -- 111 Marks and Rembrancers: Alison and Peter Smithson's Architectural Memory -- 112 A Strange Case of Cultural Borrowing: The Australian Pavilion at Expo '70, Osaka -- 113 Analogous Landscapes. 12 Art and Migration. |
| היקף החומר |
1 online resource (1,705 pages) : illustrations, maps |
| שפה |
אנגלית |
| מספר מערכת |
997012132376605171 |
תצוגת MARC
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