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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Vargas Arteaga, Jacob;

    Lograr la apropiación social del patrimonio a partir de las mediaciones que brindan las tecnologías digitales es una apuesta investigativa que surge de la necesidad de desarrollar propuestas que logren materializar el conocimiento, disfrute, difusión y conservación del legado cultural de los grupos sociales. Desde esta perspectiva, en este documento se presenta el informe final de una tesis doctoral que parte de las representaciones que tienen dos actores sociales del municipio de Santa Cruz de Lorica sobre su patrimonio cultural, para desarrollar un programa piloto de formación virtual complementaria denominado Guardianes del patrimonio, el cual es un NOOC orientado a dar significado y valor a los bienes patrimoniales materiales e inmateriales a partir de su conocimiento, comprensión y el establecimiento de vínculos que puedan hacerlos sostenibles en el tiempo. A nivel metodológico la investigación se asume desde un enfoque mixto con un diseño secuencial exploratorio que parte de un estudio de casos para indagar sobre las representaciones que tienen los estudiantes de grado noveno de educación básica, y los docentes de Ciencias Sociales de la zona urbana del municipio de Santa Cruz de Lorica sobre el patrimonio cultural local. En la fase cuantitativa se propone un diseño cuasiexperimental con grupo control y grupo experimental con prueba pretest-postest para analizar los efectos del programa virtual en la apropiación social del patrimonio de los estudiantes. Los datos recolectados a partir de instrumentos como la entrevista semiestructurada y el cuestionario fueron analizados con técnicas cualitativas y cuantitativas apoyadas en paquetes de software especializados para cada tipo de datos. Los resultados se presentan de acuerdo a las fases propuestas en el estudio y se soportan en la publicación de artículos científicos, capítulos de libro y ponencias en eventos académicos a nivel internacional. Cada uno de los productos pone de manifiesto los elementos a considerar en el desarrollo de programas de formación complementaria en ambientes virtuales para la enseñanza del patrimonio cultural, utilizando técnicas de diseño instruccional e integrando una metodología activa como lo es la gamificación. Adicionalmente, dos productos que surgen en el desarrollo del estudio son la creación de una plataforma colaborativa para la apropiación social del patrimonio cultural (https://somospatrimonio.org/) y el diseño y la validación de una escala para medir la apropiación social del patrimonio cultural (EM-ASPC), la cual es un punto partido de partida a nivel psicométrico para evaluar la efectividad de las estrategias de enseñanza y aprendizaje en la apropiación social del patrimonio cultural Achieving the social appropriation of heritage through the mediations offered by digital technologies is an investigative endeavor stemming from the necessity to develop initiatives that realize the knowledge, enjoyment, dissemination, and preservation of the cultural legacy of social groups. This document presents the final report of a doctoral thesis that commences with the representations held by two social actors from the municipality of Santa Cruz de Lorica have about their cultural heritage. It aims to develop a pilot program of complementary virtual education called "Guardians of Heritage," which is a NOOC (Nano Open Online Course) geared towards imparting meaning and value to tangible and intangible heritage assets through knowledge, comprehension, and the establishment of bonds that can render them sustainable over time. Methodologically, the research adopts a mixed approach with a sequential exploratory design, commencing with a case study to investigate the representations held by ninth-grade students of basic education and Social Sciences teachers in the urban area of the municipality of Santa Cruz de Lorica regarding local cultural heritage. In the quantitative phase, a quasi-experimental design with a control group and an experimental group using pretest-posttest is proposed to analyze the effects of the virtual program on students' social appropriation of heritage. Data collected through instruments such as semi-structured interviews and questionnaires were analyzed using qualitative and quantitative techniques, supported by specialized software packages for each type of data. Results are presented in accordance with the phases proposed in the study and are substantiated by the publication of scientific articles, book chapters, and presentations at international academic events. Each of these products highlights the elements to consider in the development of complementary training programs in virtual environments for the teaching of cultural heritage, employing instructional design techniques and integrating an active methodology such as gamification. Additionally, two elements that emerge during the course of the study are the creation of a collaborative platform for the social appropriation of cultural heritage (https://somospatrimonio.org/) and the design and validation of a scale for measuring the social appropriation of cultural heritage (EM-ASPC). The latter serves as a psychometric starting point in addressing studies related to the teaching and learning processes of heritage

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Repositorio Universidad Simón Bolívar
    Doctoral thesis . 2023
    License: CC BY NC ND
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Repositorio Universidad Simón Bolívar
      Doctoral thesis . 2023
      License: CC BY NC ND
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Bužanić, Domagoj;

    This dissertation aims to offer a better understanding of the way Croatian Adriatic, which roughly includes today's Istria, Kvarner, and Dalmatia, including islands, was supplied with water in Roman times. The term "Croatian Adriatic", as defined by J. Riđanović and Z. Bičanić, implies: "...the area of the coastal sea from the middle of the Piran Bay (the mouth of the Dragonja River) in the northwest to Cape Oštri, more precisely in the middle of the outer part of the Boka Kotorska Bay in the southeast, with a 21.2 km long break near Neum. The Croatian Adriatic, in addition to the sea, also includes the areas of municipalities and cities, which, according to the new territorial structure, as units of local administration and self-government, go directly to the Adriatic Sea". An insight into the topic begins with an overview of the geographical features of this area, which is largely characterized by karst relief, rare surface water, and uneven amounts of precipitation. Although sufficient water supply was the basis for quality urban life even in Roman times, which has long been understood, the topic of how sites were supplied with water in the area of the Croatian Adriatic is rarely given enough attention. The scholarly literature that provides an overview of technologies and water supply infrastructure in Roman times is respectable, but not vast. The first investigations of individual water supply systems and parts of infrastructure on the Croatian Adriatic began at the end of the 19th and the beginning of the 20th century, and G. Alačević, L. Jelić, F. Bulić, and A. Gnirs were among the first to deal with them. Professional study of the remains of ancient water supply systems and their parts in the area of the Croatian Adriatic began roughly at the same time as elsewhere in Europe but continued with uneven intensity. In this paper, we provide a brief overview of relevant works on water supply systems from Istria in the north to Cavtat in the south. Therefore, when researching this topic, we collected all the information available to us about the ancient water supply infrastructure. This includes examining how these objects could have been built and for what purpose. When planning and developing water supply systems on the Croatian Adriatic, the ancient engineers encountered various cultural and geographical challenges to which they had to adapt in order to ensure a safer life for Roman colonizers and the population. Help in understanding the technology and the way water supply functioned is also provided by ancient sources. Although several ancient writers touch on the topic of water in their works, which is natural considering its inevitability when thinking about human life and its activities, among the literary sources known to us today only two stand out that paid more attention to water and water supply. For this reason, this dissertation offers insight into the problems, concepts, and basic terms of water supply. When looking at the problem of searching for surface springs, which from the earliest communities were the most important supply points, we rely primarily on historical sources, especially Vitruvius. While considering water quality, we also consider ways of using undrinkable or healing waters, most of which could have been used for various purposes. The dissertation pays closer attention to the issue of technology and considers the ancient technologies necessary for exploiting underground water, rainfall, and spring. Dams were used to protect threatened areas from the destructive effects of surface water, but they also could have ensured a better supply of water in drier periods. We deal with the topic of ancient dams with an overview of general types of dams, which are divided according to the way they resisted the pressure of water. Underground water was mostly accessed by a well or a qanat. Wells are shafts used to dig into the aquifer, and qanats are a type of gravity channel aqueduct that is constructed as an underground tunnel with several access shafts. Rainfall was collected and stored in cisterns. Ancient cisterns were dug into the rock or built of stone or brick and coated from the inside with waterproof plaster (opus signinum), which was made with a mixture of plaster with pieces of ceramic or ceramic powder. In this paper, we have divided aqueducts according to the way they transport water - into gravity channel aqueducts and pressurized aqueducts. The gravity channel aqueducts use only gravity for the transfer of water. On the other hand, pressurized aqueducts in antiquity were usually inverted siphons, which work on the principle of communicating vessels. To the overview of the technology, the topic of mechanisms for raising water is added, which includes various machines and techniques. They form a very important element of some water supply systems, enabling the raising of larger quantities of water with less time or energy consumption, which can facilitate daily supply for the population, as well as simplify the construction of the rest of the infrastructure. Water supply systems, whether for private or public purposes, consisted of a combination of the solutions listed here, which we consider in more detail in the paper. To offer a broader context to the material present in the field, we have offered a summary of the social and legal context that has, equally, shaped the supply. Based on the available information, we have presented the Roman relationship to water and the position of water in Roman law. For this reason, the paper touches on the Roman legal system and how Roman society managed water resources. We concluded that for the Romans, water was a property that could be both privately and publicly owned. This had a special effect on the dynamics of supply. Thus, in its own way, the ownership of springs dictated the need for infrastructure and different solutions in construction. The owner of the land where the spring was located had private ownership of the water source, while water was considered public property if it sprung or flowed on public land. This paper also touches on the question of the legal status of the city's water supply infrastructure, the ways they were financed, and ways of managing them. The city's water supply infrastructure, i.e. the facilities that made it up, also was considered public property, but was not open to everyone and was managed by city magistrates and public authorities. After establishing a basis for our research in this way, based on the already mentioned aspects of water supply - geographical, social, legal, religious, and technological - this dissertation follows an overview of the preserved remains of the ancient water supply infrastructure, as well as relevant data for this topic, derived from previous archaeological research of water supply infrastructure on the Croatian Adriatic. This part of the research is divided into 4 different subparts: a review of the water supply of cities of the Croatian Adriatic, a review of the water supply of rural areas of the Croatian Adriatic, a review of the water supply of the Roman military camps of the Croatian Adriatic and, finally, a review of the issue of the number of ancient cisterns found in the observed area. When reviewing the water supply of the ancient cities of the Croatian Adriatic, we studied the known finds from the area of ancient Poreč, Pula, Omišalj, Rab, Zadar, Caska, Novalja, Nin, Solin, Diocletian's Palace, and Cavtat. When considering rural water supply, we paid attention to the similarities and differences in needs and solutions between urban and rural water supply, and we took the water supply of the famous ancient villa in Verige bay as an example. When reviewing the water supply of the Roman military camps, we concentrated on the review and analysis of finds related to the legionary camps Burnum and Tilurium. We approached the issue of the number of cisterns in the observed area through an overview of known sites with documented cisterns and an analysis of the various uses cisterns could have had and their importance for water supply. According to the available material and knowledge, we believe that cisterns should be distinguished as, primarily, facilities for the storage or distribution of water. In conclusion, the synthesis of available archaeological finds and other data and their analysis created a clearer and refreshed picture of water supply in Roman urban and rural life in this strategic and highly urbanized area of the Roman state. Cilj je ovoga rada bolje razumijevanje načina opskrbe vodom u rimsko vrijeme na hrvatskomu Jadranu, koji u grubim okvirima obuhvaća današnju Istru, Kvarner i Dalmaciju, s otocima. Iako je dostatna opskrba vodom i u rimsko doba predstavljala osnovu za kvalitetan urbani život, što se odavna podrazumijeva, temi načina opskrbe lokaliteta na ovomu prostoru rijetko se posvećuje dovoljna pažnja. Stoga smo pri istraživanju ove teme prikupili sve nama dostupne informacije o antičkoj vodoopskrbnoj infrastrukturi na tomu prostoru. To uključuje i ispitivanje načina na koji su ti objekti mogli biti građeni i s kojom svrhom. Pri gradnji te infrastrukture i razvoju vodoopskrbnih sustava na hrvatskomu Jadranu, antički su graditelji nailazili na različite kulturne i geografske izazove kojima su se morali prilagoditi kako bi osigurali nesmetan život rimskih kolonizatora i stanovništva. Time smo stekli i bolju sliku o načinima korištenja objekata kao što su brane, cisterne i vodovodi u to vrijeme. Sintezom dostupnih arheoloških nalaza i drugih podataka te njihovom analizom stvorena je jasnija i osvježena slika toga aspekta rimskoga urbanog i ruralnog života na ovomu strateškom i vrlo urbaniziranom području rimske države.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Moreira, Maria João da Cruz Rodrigues;

    In its geographical dimension the «Caminho de Santiago de Compostela» (Route of Santiago) is composed by a bundle of itineraries seen as a social phenomenon, whose exponential growth has developed over the course of this century. It is a polysemic space, also is interpreted as a complex of cultural elements whose set is of superior value to the individuality of the goods that compose it. It is promoted as a tourist product based on the cultural values that shape it, as a pilgrimage itinerary. Portugal, crossed by the Ways of Sant James, whose history predates its foundation as a nation, only recently began its institutionalization through a model that it called Certification. It is important, however, to question whether and to what extent the adopted legal framework protects its cultural value. The starting point of the study, to understand why the Way of Saint James in Portugal has not been legally declared cultural heritage, focuses on the research and reflexive analysis of legal acts and non-binding acts produced by international and national institutions in the period. between 1987 and 2019, in order to assess to what extent, they influenced public policies in the cultural heritage sector and, in particular, the «Caminho de Santiago de Compostela». From the perspective of the theoretical framework that substantiates the investigation, this study also sets out current legal challenges and provides propositions that serve as a basis for the construction of the cultural legal guardianship of the Caminho de Santiago in Portugal, including the contribution to a management model, within the spirit of the Charter of Cultural Itineraries and the Technical Guidelines for inscription in the Common Heritage of Humanity. Only after overcoming this challenge will it be possible to achieve the claim of international recognition. Na sua dimensão geográfica o Caminho de Santiago é constituído por uma série de itinerários sendo visto como um fenómeno social cujo crescimento exponencial se tem desenvolvido no decurso deste século. É um espaço polissémico, interpretado como um complexo de elementos culturais cujo conjunto é de valor superior à individualidade dos bens que o compõem, sendo promovido como produto turístico assente nos valores culturais que o enformam, enquanto itinerário de peregrinação. Portugal, detentor de itinerários do Caminho de Santiago cuja história é anterior à sua fundação como nação, só recentemente iniciou a sua institucionalização com recurso à certificação. Importa, entretanto, questionar se e em que medida o quadro jurídico adotado efetivamente tutela o seu valor cultural. O ponto de partida do estudo, para perceber qual o motivo de o Caminho de Santiago em Portugal não ter sido declarado juridicamente património cultural, tem como foco a pesquisa e análise reflexiva de atos jurídicos e atos não vinculativos produzidos pelas instituições internacionais e nacionais no período entre 1987 e 2019, a fim de aferir em que medida influenciaram as políticas públicas no setor do património cultural e, em especial, o Caminho de Santiago em Portugal. Sob o prisma do referencial teórico que consubstancia a investigação, este estudo enuncia, ainda, desafios jurídicos atuais e fornece proposições que sirvam de base para a construção da tutela jurídico cultural dos Caminho de Santiago em Portugal, incluindo a contribuição para um modelo de gestão, dentro do espírito da Carta dos Itinerários Culturais e das Orientações Técnicas para a inscrição no Património Comum da Humanidade. Só a partir da superação deste desafio será possível concretizar a pretensão do seu reconhecimento internacional. Tese de doutoramento em Estudos Culturais

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Universidade do Minh...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Universidade do Minho: RepositoriUM
    Doctoral thesis . 2023
    License: CC BY NC ND
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Universidade do Minh...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Universidade do Minho: RepositoriUM
      Doctoral thesis . 2023
      License: CC BY NC ND
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Cordero Cordero, María Pia;

    [spa] El propósito de esta investigación es explorar una teoría del arte en el pensamiento de Edmund Husserl (1859–1938) en base al análisis de algunos de sus manuscritos sobre la imaginación que datan desde los años Göttingen (1904/05–1912) hasta los primeros años de Freiburg (1917/18). A lo largo de estos años las reflexiones sobre fantasía y conciencia de imagen se basan en las presentificaciones intuitivas, así como en la teoría de la reproducción de los actos en relación con las modalidades de posición y la individuación de los objetos de experiencia. Cada uno de estos temas articula una comprensión de las experiencias estético– artísticas y del arte que nos permite formular ciertos elementos para una teoría husserliana del arte a través del modo de donación de los objetos artísticos, llamados ficta de imágenes, por su carácter irreal, autónomo y atemporal. [eng] The purpose of this research is to explore a theory of art in the thought of Edmund Husserl (1859-1938) based on the analysis of some of his manuscripts on imagination dating from the Göttingen years (1904/05-1912) to the early Freiburg years (1917/18). Throughout these years the reflections on phantasy and image–consciousness are based on intuitive presentifications as well as on the theory of the reproduction of acts about the modalities of position and the individuation of objects of experience. Each of these themes articulates an understanding of aesthetic-artistic experiences and art that allow us to formulate certain elements for a Husserlian theory of art through the mode of donation of the objects of art, called ficta of images, because of their unreal, autonomous, and atemporal character. Programa de Doctorat en Filosofia Contemporània i Estudis Clàssics

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Diposit Digital de l...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Diposit Digital de l...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Yildirim, Almila;

    [spa] La tradición caligráfica occidental, con más de dos mil años de antigüedad, evolucionó en función de las posibilidades técnicas y diversas necesidades vernáculas de la época. Se ha utilizado como una entidad funcional, que se refiere a escribir, conservar, copiar y difundir el texto destinado a ser leído. Por otro lado, la caligrafía occidental contemporánea representa un cambio significativo de esta tradición tanto técnica como conceptualmente. Ha comenzado a realizarse como un campo abierto en el que se empezaron a encontrar diferentes formas de entender las prácticas caligráficas occidentales. El calígrafo occidental contemporáneo prefiere principalmente eliminar el texto, una palabra, una letra o cualquier tipo de entidad escrita legible, incluso reconocible, que genera una imagen visual cercana a la abstracción que se define principalmente como caligrafía expresiva, experimental o abstracta. Hoy en día, cada vez más personas practican la caligrafía en forma de expresión a través de interpretaciones individuales y crean estilos personales con diversas motivaciones. El objetivo de esta investigación es conocer las prácticas contemporáneas de la caligrafía occidental, sus tendencias y manifestaciones, con el fin de trazar un panorama de su situación anterior y así cubrir el vacío existente en la bibliografía actual. Un gran memoria de literatura que consisten en caligrafía, sin embargo, muchos aspectos faltaban o no estaban claros para los investigadores con falta de claridad en la terminología. Si bien algunas perspectivas actuales tienen raíces en la tradición occidental, varios calígrafos se inspiran en otras disciplinas, como la música, la danza o la poesía; algunos reflejan las características significativas de otras tradiciones caligráficas, a saber, la caligrafía del Extremo Oriente y el Oriente Medio. Por esta razón, esta investigación se centra en la caligrafía occidental contemporánea, las prácticas contemporáneas y las posibles influencias de las tradiciones caligráficas del Extremo Oriente y Oriente Medio. Se fundamenta en una interacción entre la teoría y la práctica como su reflejo. Esta investigación tiene como objetivo centrarse en las prácticas occidentales contemporáneas para ubicar las diversas características y dinámicas que afectan las tendencias contemporáneas en Occidente. Esta investigación proporciona información importante para determinar las influencias y la dinámica de la caligrafía occidental contemporánea. Con este análisis, la evaluación en un marco amplio y el examen de perspectivas amplias, la investigación ofrece una nueva contribución significativa como referencia de caligrafía contemporánea para investigadores, profesionales y amateurs, que buscan una investigación amplia y diversa en el campo de la caligrafía occidental contemporánea, conceptualmente y prácticamente. [eng] The Western calligraphy tradition, with more than a two-thousand-year-old, evolved depending on the technical possibilities and various vernacular needs of the time. It has been utilized as a functional entity, which refers to writing, preserving, copying, and spreading the text meant to be read. On the other hand, contemporary Western calligraphy represents a significant shift from this tradition both technically and conceptually. It has started to be performed as an open field in which different ways of understanding Western calligraphy practices began to be encountered. Contemporary Western calligrapher mostly prefers to eliminate text, a word, a letter, or any kind of readable, even recognizable written entities, which come out with visual image close to abstraction that is primarily defined as expressive, experimental, or abstract calligraphy. Today, more and more people practice calligraphy in the form of expression through individual interpretations and create personal styles with various motivations. The objective of this research is to know the contemporary practices of Western calligraphy, its trends, and manifestations to draw an overview of its current situation and thus fill the existing gap in current literature. A great memory of a series of scripts consisting of calligraphy, however, many aspects were missing or unclear to the researchers with a lack of clarity in the terminology. While some current perspectives have roots in the Western tradition, various calligraphers take inspiration from other disciplines, such as music, dance, or poetry; some reflect the significant features of other calligraphy traditions, namely Far Eastern and Middle Eastern calligraphy. For this reason, this reserach focuses on contemporary Western calligraphy, contemporary practices, and possible influences of the Far Eastern and Middle Eastern calligraphy traditions. It grounds on an interaction between theory and practice as its reflection. This research aims to focus on contemporary Western practices to locate the various features and dynamics that affect contemporary tendencies in the West. This research provides significant insights into determining the influences and dynamics of contemporary Western calligraphy. With this analysis, evaluation in a broad framework, and examination of broad perspectives, the research offers a significant new contribution as a contemporary calligraphy reference for researchers, practitioners, and amateurs, seeking broad and diverse research in the field of contemporary Western calligraphy, conceptually and practically.

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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Recolector de Cienci...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Rapan Papeša, Anita;

    The dissertation deals with the time (Avar period) and spatial (interfluves of rivers Bosut, Vuka and Danube) limited group of finds and sites. According to available data Avar Period finds from this area are mostly associated with the period of the 8th century, however, some of them belonging an earlier or later stage, so that the absolute time frame can be defined from 650th to 850th. Space considered in the dissertation represents the northern part of Vukovar-Srijem County, bordered by the river Bosut in the south, Vuka river in the west and the River Danube in the north, and the state border in the east. The sites will be seen to topographic levels in order to obtain a form of using the space; these data will represent the basis for further targeted research of this period sites, as in the aforementioned area, and beyond, especially in the immediate vicinity. Small finds from the graves and settlements, as well as change finds will be stylish, typological and chronological classified compared to other known and published. This work by applying new methodological approach to the issue provides a cross-section of cultural, economic and political change on a defined area of the southern boundary of the Avar state. U disertaciji se obrađuje vremenski (avarodobno) i prostorno (međuriječje Bosuta, Vuke i Dunava) ograničena skupina nalaza i nalazišta. Prema dostupnim podatcima avarodobni nalazi s kojima raspolažemo u najvećoj mjeri vežu se uz razdoblje 8. stoljeća, međutim pojedini nalazi pripadaju i ranijem, ali kasnijem periodu, tako da apsolutni vremenski okvir možemo definirati od 650. do 850. godine. Prostor sagledan u disertaciji predstavlja sjeverni dio Vukovarsko-srijemske županije, omeđen rijekom Bosut na jugu, rijekom Vukom na zapadu i rijekom Dunav na sjeveru, te državnom granicom na istoku. Nalazišta će se sagledati do topografske razine u cilju dobivanja obrasca korištenja prostora; ti podatci predstavljat će osnovu za daljnja ciljana istraživanja lokaliteta ovog razdoblja, kao u navedenom prostoru, tako i šire, a napose u neposrednoj okolici. Pokretni nalazi iz grobova i naselja, kao i slučajni nalazi će se stilski, tipološki i kronološki klasificirati u odnosu na druge poznate i objavljene nalaze. Ovaj rad primjenom novih metodoloških pristupa problematici pruža presjek kulturoloških, gospodarskih i političkih promjena na definiranom prostoru južne granice avarske države.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Gradečak, Kristijan;

    Schelling's philosophical writings Ages of the World belong to the middle period of his intellectual work. The main subject of these writings is the idea of time, brought forward using a particular method of historical philosophy. This method is essentially different from all the previous deductions of the idea of time Schelling worked through in his systematical writings of philosophy of nature. The idea of time, as described in historical philosophy, appears as the idea of inner organisation of a divine being, and to describe philosophically that organization, means to reveal inner occurrences in the life of emerging God. In contrast to the pure rationalistic philosophy, which describes distinguishing moments in the historical life of the divine only negatively, Ages of the World represents Schelling's attempt to share positive description of that same history. Therefore, Ages of the World is inevitable for understanding the difference between negative and positive philosophy in the late period of Schelling's philosophical work. Among all writings that discuss the topic of Ages of the world, three versions of the writing describe the age of „Past“. The fragments on the „Present“ mostly contain only preparation and transition into the next book. The third book, which Schelling envisioned to describe the age of the „Future“, remains preserved only as one short draft. The first chapter of this doctoral thesis aims to illuminate Schelling's biographical path, up until the point where his Weltalter-project is mentioned no more, particularly in his correspondence with the publisher. The second chapter briefly reports on the current state in the publishing history of important Schelling's handwritings periodically discovered after his death. The third chapter describes Schelling's understanding of his own position and role in the history of philosophy. He explained this position in various ways, but the most significant understanding that he developed later refers to the distinction between negative and positive philosophy. These two philosophies he called pure rational and historical philosophy. The basic distinction between the two resides in Schelling's understanding of history of philosophy from Aristotle onwards predominantly as a history of negative philosophy. In Schelling's earlier work (for ex. Propaedeutics of Philosophy, 1804.), it is depicted as a history of advancement of reflection, while at the same time positive philosophy followed its course unto tradition of mystics and theosophy. Therefore, Schelling saw into history of philosophy as history of negative philosophy not overcomed, and unrealized positive philosophy, and his role would be to bring forth that very transition from negative to positive. His mature review of his earlier works shows that the tool needed to perform that transition lies in his systematic philosophy of nature. The fourth chapter aims to describe the main characteristics of the English empirical natural science as of late 18th century, and how it completely contrasts the fundaments of Schelling's and Goethe's natural philosophy. Schelling remarks that the main and the most fatal characteristic of english empirical view of nature is its tendency to exclude ideas out of natural research. That stance he shares with Goethe's teaching on metamorphosis. Goethe insisted on developing a faculty that is capable to see the idea using intuition. The latter should be applied on cognition of particular phenomena. Schelling however, aimed to translate Goethe's thought of metamoprhosis on the entire universe. The fifth chapter describes Schellings unique philosophy of nature and its position in the system of the entire philosophy. Particular concepts of space and time as two factors of illusory life of things are depicted as different types of falling out of original identity. The concept of time is defined deductively from the idea of absolute identity which is the principle of Schelling's systematical philosophy, but unlike the space which is a breakdown of identity into totality, time is a phenomenon of imagination (Einbildung) of original identity into physicality, so producing every durance. Chapter six derives Schellings understanding of science in itself. He concieved science as a dynamical system and he applied this viewpoint onto logical structure of science and drew the consequences into the field of ontology. Application of dynamic thinking on science results in a different understanding of logic of judgements: judgements have local, not absolute and generally applicable meaning/value. Therefore, science as a system of knowledge is essentially understood as a movement, as opposed to a static system of generally applicable prepositions. The concept of science as a movement places the soul into the centre of philosophical interest, interpreting it as the principle of inner movement and as a real bond. Therefore Schelling identifies science and soul in his so-called „anthropological scheme“. The seventh chapter gathers the results of „anthropological scheme“ and presents the significant role of the soul for the research in historical philosophy. This role and identity of the soul and science Schelling applied as the main introductional standpoint in the Ages of the World. To the soul as a bond (Band) itself, Schelling attributed so called „conscientia creationis“ (Mittwissenschaft der Schöpfung). It is the potential knowledge of everything that participates in the time of God and the world. This secret knowledge guarantees the entire path of the scientific movement – the beggining, the middle, and the end. Chapter eight extensively presents the main part of all three versions of the Ages of the World, with respect to the construction of idea of God. The construction of the three principals in the divine being rounds itself into the concept of primal nature, perceived as being captured in rotational movement. This unorderly movement is being stopped only by the decision of free spiritual act. The free decision therefore makes the beginning of time, so that the time is completely being determined as succesion of potencies in God. This succesion as the concept of nature is also the content of the „Past“. This past is the time of initial primeval nature, out of which two foundations arise: one of which is the world of visible nature, the other of the so called world of spirits. Chapter nine presents the content of the other two remaining versions of the „Past“, stressing out the difference in Schellings descriptions of the inner life of the divine being. The oldest version contains also the so-called „genealogy of time“ with its main subject – the idea of time. The time is organised in three eternal ages. In opposition to the mechanistic time-concept, Schelling`s idea of eternal time-ages enables us to consider time in physical as well as in spiritual aspect. Considering that, according to Schelling, homogenous and abstract time does not exist. Measurement of time as a form of reality is possible only through the power that counts changes that a thing had beard or experienced in its life. That being said, Schelling's understanding of time explicates Aristotle's notion of time as a number of movement which could not exist without soul as a cause of movement and a mind in soul which counts those movements. On the other hand, time could be understood as a power of measuring through which spirit encompasses all changes of a certain gender of being that fall into his domain. Therefore, the spirit is the ruler of time that divides everything that is, in three main moments. Chapter ten presents Schelling's fragments regarding the book of „Present“ and a short contentdraft on „Future“. These fragments instructively show Schellings intentions regarding both remaining books: in the book of „Present“ he intended to describe the genesis of visible nature and the world of spirits, and the book of „Future“ was supposed to demonstrate the reunion of those two worlds in the last age of the world. Time constitution of history takes human existence as a position of being-expelled from the centre of creation, which caused nature to become his present, and the world of spirits to become his future towards which he aspires. But, according to the idea of creation, the man is that kind of a being to whom nature should have been his past – likewise primaeval nature to God – and the world of spirits true present. Therefore, man's original fall is the preposition of Schelling's philosophy, and it results with the need to restore his spiritual-historical essence. That restorance could only be accomplished if a cognition becomes spiritualised, and that remains the primary task of the positive philosophy. Chapter eleven concludes with pointing out the main marks on the subject with rounded description of the entire movement from negative to positive philosophy. Knowledge of this movement is recognised in this PhD thesis as a philosophy of absolute spirit. The latter corresponds to the spirit as the form of thinking in the age of future. Schellingovi spisi o Dobima svijeta pripadaju srednjem razdoblju njegova stvaralaštva. Glavni predmet tih spisa čini ideja vremena koja se prikazuje po metodi povijesne filozofije. Ta metoda je bitno različita od dotadašnjih Schellingovih prikaza ideje vremena u kontekstu sistematskih spisa filozofije prirode. U povijesnoj filozofiji, u koju spadaju fragmentarni zapisi Doba svijeta, vrijeme se javlja kao ideja nutarnje organizacije božanskog bitstva, a filozofijski opis te organizacije utoliko je prikaz nutarnjeg događanja u životu postajućeg Boga. Naspram čisto racionalne filozofije, koja samo negativno prikazuje posebne momente u povijesti božanskog života, Doba svijeta predstavljaju Schellingov pokušaj pozitivnog prikaza te povijesti i utoliko su nezaobilazna za razumijevanje razlikovanja negativne i pozitivne filozofije u kasnom Schellingovu stvaralaštvu. Od svih tekstova koji obrađuju temu Doba svijeta, tri potpunije verzije spisa obrađuju epohu „Prošlosti“. Tekstovi fragmenata o „Sadašnjosti“ najvećim dijelom sadrže samo pripremu i prijelaz u novu knjigu. Od predviđene treće knjige o „Budućnosti“ ostala je sačuvana možda samo skica sadržaja. U prvom poglavlju rada prikazan je osnovni Schellingov biografski i filozofijski put, praćen do onih mjesta u spisima kada se Dobā svijeta prestaju javljati kao djelo koje je Schelling tijekom dugog razdoblja najavljivao, poglavito u korespondenciji. Drugo poglavlje ukratko donosi izvještaj o trenutnom stanju Schellingove rukopisne ostavštine i iznosi opću kronologiju otkrića značajnih Schellingovih rukopisa nakon njegove smrti. Treće poglavlje izlaže Schellingovo shvaćanje vlastitog položaja i uloge u povijesti filozofije, s obzirom na pozno razlikovanje negativne i pozitivne filozofije, kojim Schelling povratno tumači cijelu povijest filozofije u dvije usporedne linije – čisto racionalne i povijesne odnosno pozitivne filozofije. U četvrtom poglavlju obrazlažu se bitne značajke engleskog prirodoslovlja do kraja 18. stoljeća uz objašnjenje suprotnosti temeljnih polazišta Schellingova i Goetheova religijsko-prirodnog nazora spram takva stava u prirodoslovlju. Kao osnovnu karakteristiku engleskog empirizma Schelling ističe uklanjanje ideja iz filozofije prirode, s kobnim posljedicama takva stajališta na razvoj prirodne znanosti. Peto poglavlje prikazuje Schellingovu filozofiju prirode u sistemu cjelokupne filozofije, gdje se pojam vremena javlja u sklopu deduktivnog izvođenja osnovnih pojmova iz ideje apsolutnog identiteta. Šesto poglavlje prikazuje Schellingovo shvaćanje filozofije kao znanosti. Dinamističko stajalište iz filozofije prirode Schelling primjenjuje na logički ustroj znanstvenog mišljenja, s krajnjim poljedicama na području ontologije. Shvaćanje znanosti kao kretanja u središte filozofijskog interesa postavlja dušu kao princip kretanja i vezu, odakle se u antropološkoj shemi duša poistovjećuje sa samom znanošću. Sedmo poglavlje preuzima rezultat antropološke sheme i pokazuje ulogu duše u metodi istraživanja povijesne filozofije, što Schelling stavlja kao uvodne postavke spisima Dobā svijeta. Osmo poglavlje detaljno prikazuje glavni dio najpotpunije verzije spisa Dobā svijeta u kojem se izlaže konstrukcija ideje Boga. Konstrukcija triju principa u božanskom bitstvu zaokružuje pojam iskonske prirode, prikazane u rotacijskom kretanju, koje se prekida slobodnom duhovnom odlukom. Slobodna odluka je početak vremena, a ono se u cijelosti određuje kao uzastopni slijed potencija u Bogu. Time se zaokružuje pojam prirode u Dobima svijeta kao sadržaj epohe „Prošlosti“. Deveto poglavlje izlaže sadržaj preostale dvije verzije spisa Dobā svijeta, naglašavajući razliku u prikazima geneze božanskog bitstva. U najstarijoj verziji spisa izložena je i „genealogija vremena“. U tom dijelu Schelling iznosi svoju ideju vremena, po kojoj je ono strukturirano kroz tri vječna eona. Nasuprot mehanicističkom poimanju vremena, Schellingova ideja o eonima omogućuje razmatranje vremena kako u tjelesnom tako i duhovnom svijetu. Deseto poglavlje izlaže Schellingove fragmente o „Sadašnjosti“ i skicu sadržaja za knjigu o „Budućnosti“. Iz fragmenata se dade protumačiti što je Schelling namjeravao prikazati u objema zasebnim knjigama: knjiga o „Sadašnjosti“ prikazivala bi genezu vidljive prirode i svijeta duhova, a u „Budućnost“ ponovno sjedinjenje tih dvaju svjetova u posljednjem vremenu svijeta. Jedanaesto poglavlje zaključno izlaže glavne točke rada i prikazuje cjelinu kretanja iz negativne u pozitivnu filozofiju kao filozofiju apsolutnog duha. Potonja odgovara duhu kao mišljenju trećeg eona, budućnosti.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Padilla Peñuela, Christian;

    [spa] La investigación evidenciará cómo la consolidación del arte moderno en Colombia estuvo ligada a un proyecto político panamericano originado en Estados Unidos para combatir la influencia del comunismo en los intelectuales y artistas de América Latina durante la Guerra Fría, principalmente atacando y desestimulando la influencia del muralismo mexicano en los países de la región, y por otro lado, apoyando manifestaciones artísticas que consideraban apolíticas e inofensivas como la abstracción y otras tendencias emergentes, defendidas por sus valores formales y no por el contenido de las obras. Estas políticas culturales tuvieron su auge en Latinoamérica a través del curador cubano José Gómez Sicre (Matanzas, Cuba, 1916 – Washington, Estados Unidos, 1991) y su influyente cargo como director de la Sección de Artes Visuales de la Pan American Union (PAU), dependencia de la Organización de los Estados Americanos (OEA) ubicada en Washington. Desde la galería de la PAU, Gómez Sicre creó un programa artístico que tuvo recepción y proyección en Colombia a través de la crítica argentina Marta Traba, con quien coincidió en su aversión por el muralismo y el arte de denuncia política, y con quien convergió en el apoyo y defensa de las prácticas modernas entre los artistas jóvenes. El éxito de este programa se debió en gran medida al apoyo económico de la petrolera ESSO, filial en Colombia de la Standard Oil Company de Estados Unidos, que premió, promovió y financió proyectos artísticos a lo largo del continente basados en la concepción del arte como una expresión de creación y libertad en los países capitalistas, en oposición al realismo socialista como arte oficial del comunismo. Así, Estados Unidos, en la defensa de sus intereses económicos y comerciales ejerció intervencionismo cultural en Colombia a través del arte. La alianza entre Traba y Gómez Sicre delineó, definió e institucionalizó el concepto de arte moderno a través de libros y artículos de crítica, exposiciones, premios y la fundación de museos, logrando que una generación joven de artistas (entre quienes vale la pena mencionar a Alejandro Obregón, Fernando Botero, Eduardo Ramírez Villamizar y Edgar Negret) se proyectara con éxito internacionalmente por primera vez. De esta forma, la abstracción y la nueva figuración se convirtieron en manifestaciones artísticas de vanguardia que opacaron y marginaron la fuerte influencia en Colombia del muralismo mexicano y su pintura de denuncia política. Sin embargo, la misma conducta intervencionista de Estados Unidos en Latinoamérica dentro de sus políticas exteriores de Guerra Fría, expresada en intervenciones militares, apoyo a dictaduras y financiación de la represión al pensamiento disidente, produjo a mediados de la década de 1960 el repudio de los intelectuales, artistas y jóvenes, generando una inevitable ruptura de aquel proyecto panamericano para las artes. Los artistas e intelectuales politizaron su trabajo de acuerdo a las condiciones políticas y sociales del momento, y el mecenazgo cultural de Estados Unidos perdió su interés e impulso por continuar financiando las artes. [eng] This research will reveal how the consolidation of modern art in Colombia was linked to a Pan-American political project initiated in the United States to combat the influence of communism on Latin American intellectuals and artists during the Cold War, mainly by attacking and discouraging the influence of Mexican muralism in the countries of the region, and on the other hand, by supporting artistic manifestations that they considered apolitical and inoffensive, such as abstraction and other emerging trends, defended by their formal values and not by the content of the works. These cultural policies had their peak in Latin America through the Cuban curator José Gómez Sicre (Matanzas, Cuba, 1916 – Washington, United States, 1991) and his influential position as Director of the Visual Arts Section of the Pan American Union (PAU), dependency of the Organization of American States (OAS) located in Washington. From the PAU gallery, Gómez Sicre created an artistic program that was received and projected in Colombia through the Argentine critic Marta Traba, with whom he coincided in his aversion to muralism and the art of political denunciation, and with whom he converged in the support and defense of modern practices among young artists. The success of this program was largely due to the financial support of the oil company ESSO, a subsidiary in Colombia of the Standard Oil Company of the United States, which rewarded, promoted and financed artistic projects throughout the continent based on the conception of art as an expression of creation and freedom in capitalist countries, in opposition to social realism as the official art of communism. Thus, the United States exercised cultural interventionism in Colombia through art. The alliance between Traba and Gómez Sicre delineated, defined and institutionalized the concept of modern art through critical books and articles, exhibitions, awards and the foundation of museums, achieving that a young generation of artists (among whom it is worth mentioning Alejandro Obregón, Fernando Botero, Eduardo Ramírez Villamizar and Edgar Negret) would be successfully projected internationally for the first time. In this way, abstraction and the new figuration became avant-garde artistic manifestations that overshadowed and marginalized the strong influence in Colombia of Mexican muralism and its painting of political denunciation. However, the same interventionist conduct of the United States in Latin America within its Cold War foreign policies, expressed in military interventions, support for dictatorships and financing of the repression of dissident thought, produced in the mid-1960s the repudiation of the intellectuals, artists and young people, generating an inevitable rupture of that Pan-American project for the arts. Artists and intellectuals politicize their work according to the oppressive social conditions of the moment, and therefore cultural patronage of the United States loses its interest and impulse to continue financing the arts. Programa de Doctorat en Història de l'Art

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Recolector de Cienci...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Recolector de Cienci...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Méndez Salamanca, Nelson Michael;

    Los desafíos actuales abarcan un sinnúmero de situaciones que afectan notoriamente la condición humana; el devenir constante de elementos emergentes, diversos, complejos, hacen que la existencia en este mundo se tenga que adaptar y en efecto es lo que se vive en la actualidad. El desarrollo vertiginoso de la sociedad y sus procesos evolutivos conllevan a aplicar una resiliencia que hace algunas décadas no era tan evidente; es así como, los desarrollos tecnológicos, cada vez son más frecuentes y versátiles, a diario se vislumbran actualizaciones, nuevas versiones, prototipos, entre otros; el mundo cambiante en el que la sociedad se desenvuelve está en constante movimiento y la relación humana/tecnología se religa con mayor relevancia en contextos multipropósito. Con esta denotación, se hace entrever que la evolución de la tecnología permite interactuar con lugares, personas, empresas, en formato online; el ser humano ha creado una tecnosfera, que propicia la posibilidad de interrelacionarse con la realidad tangible e intangible que lo rodea, en tiempo real. Al iniciar la tercera década del siglo XXI, surge una crisis mundial con la aparición de un virus originario de Wuhan (China) el 31 de diciembre de 2019, según datos de la Organización Mundial de la salud (OMS, 2019, Párr. 1). Esta situación obligó a la humanidad a un confinamiento preventivo para disminuir el contagio debido al crecimiento vertiginoso de la enfermedad, el colapso planetario afectó todas las esferas y en especial el comportamiento humano. La educación a nivel mundial entró en crisis al no estar preparado el sistema educativo para una educación remota, una educación desde casa. Según datos del Banco Mundial (2020) The current challenges cover a number of situations that notoriously affect the human condition; The constant evolution of emerging, diverse, complex elements means that existence in this world has to adapt, and in fact it is what is lived today. The vertiginous development of society and its evolutionary processes lead to applying a resilience that a few decades ago was not so evident; This is how technological developments are becoming more frequent and versatile, daily updates, new versions, prototypes, among others; the changing world in which society unfolds is in constant movement and the human/technology relationship is linked with greater relevance in multipurpose contexts. With this denotation, it is suggested that the evolution of technology allows interaction with places, people, companies, in online format; the human being has created a technosphere, which fosters the possibility of interrelating with the tangible and intangible reality that surrounds him, in real time. At the beginning of the third decade of the 21st century, a global crisis arises with the appearance of a virus originating in Wuhan (China) on December 31, 2019, according to data from the World Health Organization (WHO, 2019, Para. 1) . This situation forced humanity into preventive confinement to reduce contagion due to the dizzying growth of the disease, the planetary collapse affected all spheres and especially human behavior. Education worldwide entered a crisis as the educational system was not prepared for remote education, education from home. According to data from the World Bank (2020)

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Repositorio Universidad Simón Bolívar
    Doctoral thesis . 2022
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Repositorio Universidad Simón Bolívar
      Doctoral thesis . 2022
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Bujak, Edin;

    Archaeological excavations of late medieval cemeteries in central Bosnia were quite rare and generally did not follow the intensity of archaeological excavations of sites from other time periods. Only about thirty cemeteries have been excavated, mostly only partly, while there are probably more than 600 cemeteries here. In addition, excavation results have rarely been published in full. In writing the dissertation, material remains of the late medieval period found mainly during archaeological excavations, from the area of central Bosnia were used. In doing so, presented data were collected from several sources. First of all, the results of the archeological excavations of the cemeteries that the author conducted in the past period are presented (Kopošići near Ilijaš, Divičani near Jajce, Arnautovići near Vsioki, Metaljica near Tarčin). Also, a detailed review of professional and scientific literature and sources published from the end of the 19th century to the present day was performed, as well as a review of available archaeological reports and field documentation. Previous research has mainly focused on presenting the results of excavations of individual cemeteries or partial processing of archaeological material found in graves. There were no works in which different types of graves were synthetically considered, starting from simple burial in the ground, all the way to complex structures in the form of or sarcophagi made in the shape of a human body. The situation is the same to the rather small number of finds from the graves. Nevertheless, all this makes it possible to read the social stratification of the late medieval population of central Bosnia. In the first place, it should be said that cemeteries next to churches are much rarer here compared to other parts of late medieval Bosnia and Europe. A good indicator of that is the number of over 600 cemeteries with stećak tombstones in the central Bosnia. Of course, we should not ignore the fact that here, too, people were buried next to churches or inside them, especially when it comes to cities or larger settlements such as Jajce or Arnautovići. Thus, the interior of the church in Jajce was completely filled with graves, and it was similar in Arnautovići. On the other hand, everywhere in the landscape, there are numerous, mostly smaller, cemeteries that represent a relic of burial on their own land, as is often stated in the inscriptions on stećak tombstones. The most probable reason for this lies in the fact that the reorganization of the parish system, which took place from the 11th to the 13th century in Europe, was not completed here. One of the reasons is the complex religious situation within the Bosnian state. From 1233, Bosnia remained without its diocese. It was moved to Đakovo. This ends the chapter of church reform in this area rather ingloriously. Unresolved religious issues would remain here until the second half of the 15th century. Burials inside the church were reserved for the clergy or nobility, as evidenced by burials inside the church of St. Marija in Jajce or Arnautovići near Visoko. However, members of the high nobility were also buried in smaller family cemeteries without church, as was the case in Kopošići near Ilijaš, where princes Mirko Radojević and Batić Mirković were buried. The main characteristic of the cemeteries in the central Bosnia is the placement of stećak tombstones above the graves. They were placed around the churches as well, but not inside them. The position of the deceased in all the cemeteries analyzed in this work is in most cases analogous to the general medieval Christian principle of burying the dead. As a rule, deceased were lying in the graves on their backs. The position of the arms varies from stretched out next to the body, crossed on the chest, lowered to the pelvis or some other variants. The depth of the graves varies and no principle can be drawn from it. Children's graves were the shallowest, what is quite understandable. The unnatural positions of the deceased, which appear sporadically, are in any case the exception, not the rule. Examples of this are the burials of the deceased without a head (Kopošići, Varošište) or with the face facing the ground (Oborci, Čipuljići). Most of the dead were buried in the plain soil. However, several burials have been registered in wooden coffins, some of which are quite massive, such as those from Pavlovac and Kopošići. Wood was used in graves in other ways, ie the deceased were covered with wooden planks (Potkriž, Guča Gora). The most numerous is the use of stone. Sometimes one or more stones were placed in the grave around the deceased, in several cases the construction was made of stone slabs in roof like formation above the deceased (Čelebići, Perin Han, Gornja Višnjica, Šabići) or by making a chest from the slabs (Luke, Ćatići). Stone walled tombs appear exclusively inside churches or mausoleums (Jajce, Turbe). Special cases are the central Bosnian stone sarcophagi. They consist of two parts: a lid and a lower part that was usually made in the shape of a human body. They seem to be a unique phenomenon both in Central Bosnia and in Central Europe in Late Medieval period. We find parallels only in the medieval monastic sarcophagi in England. To date, most of them have been found in the area of Travnik. In the central Bosnia, the existence of underground masonry mausoleums was also recorded. They were reserved mainly for prominent members of the nobility. Such are the mausoleums of Batalo in Turbe near Travnik, of Nespina near Visoko or the great judge Gradiša near Zenica. In this context, the unfinished underground mausoleum church - the so-called catacombs of Hrvoje Vukčić in Jajce, should be mentioned. The orientation of the graves is rather uneven. It is safe to say that the west-east appears in most cases, but that it is by no means dominant. Many cemeteries have a completely opposite or partially opposite orientation, and in several cases some of the graves are oriented opposite. In the cemeteries next to the church, the graves are in principle oriented in the same way as the church. Based on that, it can be concluded that if there is no church that can serve as a basis for orientation, then the graves are oriented according to some other determinants. These can be roads that pass by a cemetery, a river or some other parameters. It is in accordance with this that cemeteries in this area were most often formed along roads, streams or rivers. These are usually more or less elevated terrains in relation to the surroundings. Cemeteries are often near settlements, and sometimes next to fortified towns or within their walls like in Jajce. Another phenomenon in this area should be mentioned. In several cases cemeteries were built on apparently artificial creations that look like tumuli. They have been registered at the Gajani site in Alihodže near Travnik, Metaljica in Vilovac near Hadžići, Mile near Jajce, Markov kamen and Grebak near Zenica. Finds inside graves are rare but still occur. At the large cemetery in Čipuljići near Bugojno, approximately one third of the graves contained finds. In addition, finds in the form of coins, glass cups (Sarajevo, Biskup, Visoko), ceramic vessels (Biskup, Međuputnica, Didino guvno, Tičići) and rarely weapons (Čipuljići) appear on several others. In the jewelry category, it is mostly about earrings or rings. They mostly come from graves in which wealthier deceased people or nobles are buried. Among them, the most important are certainly the massive seal rings that are associated with King Tvrtko I Kotromanić or members of the noble family Pribinić. In several cases, the remains of textiles were found, as a rule of brocade, which are quite well preserved due to their metal parts, as is the case with Kopošići, Arnautovići, Biskup, Glavica, etc. In principle, members of the nobility are buried in these graves, so it is not surprising that they are buried in expensive pieces of clothing. In smaller cemeteries where ordinary people were buried, the finds were simpler or made of cheaper materials. Silver and gold are dominant in the graves of the most prominent. Most of the excavated graves in central Bosnia belong to adults. The lack or small number of child burials can be explained in several ways. In the first place is the absence of fully explored cemeteries. Another possibility is that children's graves were buried shallower, and children's bones are more sensitive to soil acidity, which ultimately leads to their disappearance. Not much can be said about paloedemographic analyzes for now. Data on anthropological analyzes from most of the investigated larger cemeteries are missing as well. Unfortunately, we still know very few exact dates for the cemeteries in central Bosnia. So far, only two 14C analyzes have been performed, one sample from the Arnautovići near Visoko and one from Zgošća near Kakanj. The sample from Arnautovići showed the date 1389- 1437. years with a 95.4% probability. On the other hand, the sample from Zgošća gave a much earlier date, in the middle of the 13th century. In addition, a couple of researched cemeteries can be dated based on written sources. Thus we know that the cemetery in Kopošići was used at the end of the 14th and the beginning of the 15th century. All this allows us to date the excavated cemeteries in central Bosnia from the 13th to the middle of the 15th century. Arheološka istraživanja kasnosrednjovjekovnih grobalja na prostoru srednje Bosne bila su poprilično rijetka i uglavnom nisu pratila intenzitet arheoloških iskopavanja lokaliteta iz drugih vremenskih epoha. Istraženo je, i to uglavnom parcijalno, tek nekih tridesetak grobalja, dok ih je vjerovatno bilo više od 600. Osim toga, rezultati iskopavanja su rijetko u cjelosti objavljeni. U pisanju disertacije upotrebljeni su materijalni ostaci kasnosrednjovjekovnog razdoblja s područja srednje Bosne do kojih se došlo uglavnom tijekom arheoloških istraživanja. Pri tom, podaci korišteni za znanstvenu obradu su prikupljeni iz nekoliko izvora. Prvenstveno su prezentirani rezultati iskopavanja grobalja koja je autor u proteklom periodu obavio (Kopošići kod Ilijaša, Divičani kod Jajca, Arnautovići kod Visokog, Metaljica kod Tarčina). Izvršen je i detaljan pregled stručne i znanstvene literature i izvora objavljenih od kraja XIX stoljeća do danas, kao i pregled dostupnih arheoloških izvješća i terenske dokumentacije. Dosadašnja istraživanja su se uglavnom odnosila na prezentiranje rezultata iskopavanja pojedinih grobalja ili parcijalnu obradu arheološkog materijala pronađenog u grobovima. Nije bilo radova u kojima bi bile sintetski sagledane različite vrste grobova počevši od ukopa u prostu zemlju pa sve do složenih konstrukcija u vidu raka napravljenih od kamenih ploča ili pak sarkofaga u obliku ljudskog tijela. Ista je situacija i sa, istina po prilično malobrojnim, nalazima i prilozima iz grobova. Pa ipak, sve to omogućava da se iščita socijalna slojevitost kasnosrednjovjekovnog življa srednje Bosne. Posmatrajući topografski položaj grobalja i njihov odnos sa prometnicama i crkvenim objektima može se zaključiti da je na ovom području dominantno sahranjivanje na vlastitoj zemlji, na manjim porodičnim grobljima bez ikakvih vjerskih objekata iako ne treba zanemariti i činjenicu da se u većim i urbanijim središtima sahranjivalo i pored crkava kakav je slučaj u Arnautovićima kod Visokog. Osim toga, položaj je skoro uvijek takakv da se groblje nalazilo na uzvišenom mjestu u odnosu na okolinu pri čemu su u obzir dolazili uglavnom manji prirodni brežuljci. U radu su po prvi put na jednom mjestu prikupljeni i analizirani svi dostupni podaci o arheološki istraženim kasnosrednjovjekovnim grobljima na području srednje Bosne. Na taj način arheološki materijal se može posmatrati i analizirati u arheološkom krajoliku unutar jedne topografske cjeline. Prikupljeni podaci su omogućili promatranje pozicioniranja groblja u odnosu na prometnice, gospodarske i rezidencijalne te sakralne objekte. Uz to može se, u skladu sa mogućnostima arheološkog materijala, posmatrati socijalna struktura stanovništva na području srednje Bosne, što se može iskoristiti za usporedne procese u srednjovjekovnoj Europi istog perioda. Na kraju, u radu su po prvi put prezentirani rezultati arheoloških iskopavanja više grobalja na predmetnom teritoriju. Osim toga prikupljeni i analizirani podaci omogućuju uvid u pogrebnu praksu kasnog srednjeg vijeka posebno jer se radi o području koje na ovaj način ranije nije stručno obrađivano.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Vargas Arteaga, Jacob;

    Lograr la apropiación social del patrimonio a partir de las mediaciones que brindan las tecnologías digitales es una apuesta investigativa que surge de la necesidad de desarrollar propuestas que logren materializar el conocimiento, disfrute, difusión y conservación del legado cultural de los grupos sociales. Desde esta perspectiva, en este documento se presenta el informe final de una tesis doctoral que parte de las representaciones que tienen dos actores sociales del municipio de Santa Cruz de Lorica sobre su patrimonio cultural, para desarrollar un programa piloto de formación virtual complementaria denominado Guardianes del patrimonio, el cual es un NOOC orientado a dar significado y valor a los bienes patrimoniales materiales e inmateriales a partir de su conocimiento, comprensión y el establecimiento de vínculos que puedan hacerlos sostenibles en el tiempo. A nivel metodológico la investigación se asume desde un enfoque mixto con un diseño secuencial exploratorio que parte de un estudio de casos para indagar sobre las representaciones que tienen los estudiantes de grado noveno de educación básica, y los docentes de Ciencias Sociales de la zona urbana del municipio de Santa Cruz de Lorica sobre el patrimonio cultural local. En la fase cuantitativa se propone un diseño cuasiexperimental con grupo control y grupo experimental con prueba pretest-postest para analizar los efectos del programa virtual en la apropiación social del patrimonio de los estudiantes. Los datos recolectados a partir de instrumentos como la entrevista semiestructurada y el cuestionario fueron analizados con técnicas cualitativas y cuantitativas apoyadas en paquetes de software especializados para cada tipo de datos. Los resultados se presentan de acuerdo a las fases propuestas en el estudio y se soportan en la publicación de artículos científicos, capítulos de libro y ponencias en eventos académicos a nivel internacional. Cada uno de los productos pone de manifiesto los elementos a considerar en el desarrollo de programas de formación complementaria en ambientes virtuales para la enseñanza del patrimonio cultural, utilizando técnicas de diseño instruccional e integrando una metodología activa como lo es la gamificación. Adicionalmente, dos productos que surgen en el desarrollo del estudio son la creación de una plataforma colaborativa para la apropiación social del patrimonio cultural (https://somospatrimonio.org/) y el diseño y la validación de una escala para medir la apropiación social del patrimonio cultural (EM-ASPC), la cual es un punto partido de partida a nivel psicométrico para evaluar la efectividad de las estrategias de enseñanza y aprendizaje en la apropiación social del patrimonio cultural Achieving the social appropriation of heritage through the mediations offered by digital technologies is an investigative endeavor stemming from the necessity to develop initiatives that realize the knowledge, enjoyment, dissemination, and preservation of the cultural legacy of social groups. This document presents the final report of a doctoral thesis that commences with the representations held by two social actors from the municipality of Santa Cruz de Lorica have about their cultural heritage. It aims to develop a pilot program of complementary virtual education called "Guardians of Heritage," which is a NOOC (Nano Open Online Course) geared towards imparting meaning and value to tangible and intangible heritage assets through knowledge, comprehension, and the establishment of bonds that can render them sustainable over time. Methodologically, the research adopts a mixed approach with a sequential exploratory design, commencing with a case study to investigate the representations held by ninth-grade students of basic education and Social Sciences teachers in the urban area of the municipality of Santa Cruz de Lorica regarding local cultural heritage. In the quantitative phase, a quasi-experimental design with a control group and an experimental group using pretest-posttest is proposed to analyze the effects of the virtual program on students' social appropriation of heritage. Data collected through instruments such as semi-structured interviews and questionnaires were analyzed using qualitative and quantitative techniques, supported by specialized software packages for each type of data. Results are presented in accordance with the phases proposed in the study and are substantiated by the publication of scientific articles, book chapters, and presentations at international academic events. Each of these products highlights the elements to consider in the development of complementary training programs in virtual environments for the teaching of cultural heritage, employing instructional design techniques and integrating an active methodology such as gamification. Additionally, two elements that emerge during the course of the study are the creation of a collaborative platform for the social appropriation of cultural heritage (https://somospatrimonio.org/) and the design and validation of a scale for measuring the social appropriation of cultural heritage (EM-ASPC). The latter serves as a psychometric starting point in addressing studies related to the teaching and learning processes of heritage

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Repositorio Universidad Simón Bolívar
    Doctoral thesis . 2023
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Repositorio Universidad Simón Bolívar
      Doctoral thesis . 2023
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Bužanić, Domagoj;

    This dissertation aims to offer a better understanding of the way Croatian Adriatic, which roughly includes today's Istria, Kvarner, and Dalmatia, including islands, was supplied with water in Roman times. The term "Croatian Adriatic", as defined by J. Riđanović and Z. Bičanić, implies: "...the area of the coastal sea from the middle of the Piran Bay (the mouth of the Dragonja River) in the northwest to Cape Oštri, more precisely in the middle of the outer part of the Boka Kotorska Bay in the southeast, with a 21.2 km long break near Neum. The Croatian Adriatic, in addition to the sea, also includes the areas of municipalities and cities, which, according to the new territorial structure, as units of local administration and self-government, go directly to the Adriatic Sea". An insight into the topic begins with an overview of the geographical features of this area, which is largely characterized by karst relief, rare surface water, and uneven amounts of precipitation. Although sufficient water supply was the basis for quality urban life even in Roman times, which has long been understood, the topic of how sites were supplied with water in the area of the Croatian Adriatic is rarely given enough attention. The scholarly literature that provides an overview of technologies and water supply infrastructure in Roman times is respectable, but not vast. The first investigations of individual water supply systems and parts of infrastructure on the Croatian Adriatic began at the end of the 19th and the beginning of the 20th century, and G. Alačević, L. Jelić, F. Bulić, and A. Gnirs were among the first to deal with them. Professional study of the remains of ancient water supply systems and their parts in the area of the Croatian Adriatic began roughly at the same time as elsewhere in Europe but continued with uneven intensity. In this paper, we provide a brief overview of relevant works on water supply systems from Istria in the north to Cavtat in the south. Therefore, when researching this topic, we collected all the information available to us about the ancient water supply infrastructure. This includes examining how these objects could have been built and for what purpose. When planning and developing water supply systems on the Croatian Adriatic, the ancient engineers encountered various cultural and geographical challenges to which they had to adapt in order to ensure a safer life for Roman colonizers and the population. Help in understanding the technology and the way water supply functioned is also provided by ancient sources. Although several ancient writers touch on the topic of water in their works, which is natural considering its inevitability when thinking about human life and its activities, among the literary sources known to us today only two stand out that paid more attention to water and water supply. For this reason, this dissertation offers insight into the problems, concepts, and basic terms of water supply. When looking at the problem of searching for surface springs, which from the earliest communities were the most important supply points, we rely primarily on historical sources, especially Vitruvius. While considering water quality, we also consider ways of using undrinkable or healing waters, most of which could have been used for various purposes. The dissertation pays closer attention to the issue of technology and considers the ancient technologies necessary for exploiting underground water, rainfall, and spring. Dams were used to protect threatened areas from the destructive effects of surface water, but they also could have ensured a better supply of water in drier periods. We deal with the topic of ancient dams with an overview of general types of dams, which are divided according to the way they resisted the pressure of water. Underground water was mostly accessed by a well or a qanat. Wells are shafts used to dig into the aquifer, and qanats are a type of gravity channel aqueduct that is constructed as an underground tunnel with several access shafts. Rainfall was collected and stored in cisterns. Ancient cisterns were dug into the rock or built of stone or brick and coated from the inside with waterproof plaster (opus signinum), which was made with a mixture of plaster with pieces of ceramic or ceramic powder. In this paper, we have divided aqueducts according to the way they transport water - into gravity channel aqueducts and pressurized aqueducts. The gravity channel aqueducts use only gravity for the transfer of water. On the other hand, pressurized aqueducts in antiquity were usually inverted siphons, which work on the principle of communicating vessels. To the overview of the technology, the topic of mechanisms for raising water is added, which includes various machines and techniques. They form a very important element of some water supply systems, enabling the raising of larger quantities of water with less time or energy consumption, which can facilitate daily supply for the population, as well as simplify the construction of the rest of the infrastructure. Water supply systems, whether for private or public purposes, consisted of a combination of the solutions listed here, which we consider in more detail in the paper. To offer a broader context to the material present in the field, we have offered a summary of the social and legal context that has, equally, shaped the supply. Based on the available information, we have presented the Roman relationship to water and the position of water in Roman law. For this reason, the paper touches on the Roman legal system and how Roman society managed water resources. We concluded that for the Romans, water was a property that could be both privately and publicly owned. This had a special effect on the dynamics of supply. Thus, in its own way, the ownership of springs dictated the need for infrastructure and different solutions in construction. The owner of the land where the spring was located had private ownership of the water source, while water was considered public property if it sprung or flowed on public land. This paper also touches on the question of the legal status of the city's water supply infrastructure, the ways they were financed, and ways of managing them. The city's water supply infrastructure, i.e. the facilities that made it up, also was considered public property, but was not open to everyone and was managed by city magistrates and public authorities. After establishing a basis for our research in this way, based on the already mentioned aspects of water supply - geographical, social, legal, religious, and technological - this dissertation follows an overview of the preserved remains of the ancient water supply infrastructure, as well as relevant data for this topic, derived from previous archaeological research of water supply infrastructure on the Croatian Adriatic. This part of the research is divided into 4 different subparts: a review of the water supply of cities of the Croatian Adriatic, a review of the water supply of rural areas of the Croatian Adriatic, a review of the water supply of the Roman military camps of the Croatian Adriatic and, finally, a review of the issue of the number of ancient cisterns found in the observed area. When reviewing the water supply of the ancient cities of the Croatian Adriatic, we studied the known finds from the area of ancient Poreč, Pula, Omišalj, Rab, Zadar, Caska, Novalja, Nin, Solin, Diocletian's Palace, and Cavtat. When considering rural water supply, we paid attention to the similarities and differences in needs and solutions between urban and rural water supply, and we took the water supply of the famous ancient villa in Verige bay as an example. When reviewing the water supply of the Roman military camps, we concentrated on the review and analysis of finds related to the legionary camps Burnum and Tilurium. We approached the issue of the number of cisterns in the observed area through an overview of known sites with documented cisterns and an analysis of the various uses cisterns could have had and their importance for water supply. According to the available material and knowledge, we believe that cisterns should be distinguished as, primarily, facilities for the storage or distribution of water. In conclusion, the synthesis of available archaeological finds and other data and their analysis created a clearer and refreshed picture of water supply in Roman urban and rural life in this strategic and highly urbanized area of the Roman state. Cilj je ovoga rada bolje razumijevanje načina opskrbe vodom u rimsko vrijeme na hrvatskomu Jadranu, koji u grubim okvirima obuhvaća današnju Istru, Kvarner i Dalmaciju, s otocima. Iako je dostatna opskrba vodom i u rimsko doba predstavljala osnovu za kvalitetan urbani život, što se odavna podrazumijeva, temi načina opskrbe lokaliteta na ovomu prostoru rijetko se posvećuje dovoljna pažnja. Stoga smo pri istraživanju ove teme prikupili sve nama dostupne informacije o antičkoj vodoopskrbnoj infrastrukturi na tomu prostoru. To uključuje i ispitivanje načina na koji su ti objekti mogli biti građeni i s kojom svrhom. Pri gradnji te infrastrukture i razvoju vodoopskrbnih sustava na hrvatskomu Jadranu, antički su graditelji nailazili na različite kulturne i geografske izazove kojima su se morali prilagoditi kako bi osigurali nesmetan život rimskih kolonizatora i stanovništva. Time smo stekli i bolju sliku o načinima korištenja objekata kao što su brane, cisterne i vodovodi u to vrijeme. Sintezom dostupnih arheoloških nalaza i drugih podataka te njihovom analizom stvorena je jasnija i osvježena slika toga aspekta rimskoga urbanog i ruralnog života na ovomu strateškom i vrlo urbaniziranom području rimske države.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Moreira, Maria João da Cruz Rodrigues;

    In its geographical dimension the «Caminho de Santiago de Compostela» (Route of Santiago) is composed by a bundle of itineraries seen as a social phenomenon, whose exponential growth has developed over the course of this century. It is a polysemic space, also is interpreted as a complex of cultural elements whose set is of superior value to the individuality of the goods that compose it. It is promoted as a tourist product based on the cultural values that shape it, as a pilgrimage itinerary. Portugal, crossed by the Ways of Sant James, whose history predates its foundation as a nation, only recently began its institutionalization through a model that it called Certification. It is important, however, to question whether and to what extent the adopted legal framework protects its cultural value. The starting point of the study, to understand why the Way of Saint James in Portugal has not been legally declared cultural heritage, focuses on the research and reflexive analysis of legal acts and non-binding acts produced by international and national institutions in the period. between 1987 and 2019, in order to assess to what extent, they influenced public policies in the cultural heritage sector and, in particular, the «Caminho de Santiago de Compostela». From the perspective of the theoretical framework that substantiates the investigation, this study also sets out current legal challenges and provides propositions that serve as a basis for the construction of the cultural legal guardianship of the Caminho de Santiago in Portugal, including the contribution to a management model, within the spirit of the Charter of Cultural Itineraries and the Technical Guidelines for inscription in the Common Heritage of Humanity. Only after overcoming this challenge will it be possible to achieve the claim of international recognition. Na sua dimensão geográfica o Caminho de Santiago é constituído por uma série de itinerários sendo visto como um fenómeno social cujo crescimento exponencial se tem desenvolvido no decurso deste século. É um espaço polissémico, interpretado como um complexo de elementos culturais cujo conjunto é de valor superior à individualidade dos bens que o compõem, sendo promovido como produto turístico assente nos valores culturais que o enformam, enquanto itinerário de peregrinação. Portugal, detentor de itinerários do Caminho de Santiago cuja história é anterior à sua fundação como nação, só recentemente iniciou a sua institucionalização com recurso à certificação. Importa, entretanto, questionar se e em que medida o quadro jurídico adotado efetivamente tutela o seu valor cultural. O ponto de partida do estudo, para perceber qual o motivo de o Caminho de Santiago em Portugal não ter sido declarado juridicamente património cultural, tem como foco a pesquisa e análise reflexiva de atos jurídicos e atos não vinculativos produzidos pelas instituições internacionais e nacionais no período entre 1987 e 2019, a fim de aferir em que medida influenciaram as políticas públicas no setor do património cultural e, em especial, o Caminho de Santiago em Portugal. Sob o prisma do referencial teórico que consubstancia a investigação, este estudo enuncia, ainda, desafios jurídicos atuais e fornece proposições que sirvam de base para a construção da tutela jurídico cultural dos Caminho de Santiago em Portugal, incluindo a contribuição para um modelo de gestão, dentro do espírito da Carta dos Itinerários Culturais e das Orientações Técnicas para a inscrição no Património Comum da Humanidade. Só a partir da superação deste desafio será possível concretizar a pretensão do seu reconhecimento internacional. Tese de doutoramento em Estudos Culturais

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Universidade do Minh...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Universidade do Minho: RepositoriUM
    Doctoral thesis . 2023
    License: CC BY NC ND
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Universidade do Minh...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Universidade do Minho: RepositoriUM
      Doctoral thesis . 2023
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Cordero Cordero, María Pia;

    [spa] El propósito de esta investigación es explorar una teoría del arte en el pensamiento de Edmund Husserl (1859–1938) en base al análisis de algunos de sus manuscritos sobre la imaginación que datan desde los años Göttingen (1904/05–1912) hasta los primeros años de Freiburg (1917/18). A lo largo de estos años las reflexiones sobre fantasía y conciencia de imagen se basan en las presentificaciones intuitivas, así como en la teoría de la reproducción de los actos en relación con las modalidades de posición y la individuación de los objetos de experiencia. Cada uno de estos temas articula una comprensión de las experiencias estético– artísticas y del arte que nos permite formular ciertos elementos para una teoría husserliana del arte a través del modo de donación de los objetos artísticos, llamados ficta de imágenes, por su carácter irreal, autónomo y atemporal. [eng] The purpose of this research is to explore a theory of art in the thought of Edmund Husserl (1859-1938) based on the analysis of some of his manuscripts on imagination dating from the Göttingen years (1904/05-1912) to the early Freiburg years (1917/18). Throughout these years the reflections on phantasy and image–consciousness are based on intuitive presentifications as well as on the theory of the reproduction of acts about the modalities of position and the individuation of objects of experience. Each of these themes articulates an understanding of aesthetic-artistic experiences and art that allow us to formulate certain elements for a Husserlian theory of art through the mode of donation of the objects of art, called ficta of images, because of their unreal, autonomous, and atemporal character. Programa de Doctorat en Filosofia Contemporània i Estudis Clàssics

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Diposit Digital de l...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Diposit Digital de l...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Yildirim, Almila;

    [spa] La tradición caligráfica occidental, con más de dos mil años de antigüedad, evolucionó en función de las posibilidades técnicas y diversas necesidades vernáculas de la época. Se ha utilizado como una entidad funcional, que se refiere a escribir, conservar, copiar y difundir el texto destinado a ser leído. Por otro lado, la caligrafía occidental contemporánea representa un cambio significativo de esta tradición tanto técnica como conceptualmente. Ha comenzado a realizarse como un campo abierto en el que se empezaron a encontrar diferentes formas de entender las prácticas caligráficas occidentales. El calígrafo occidental contemporáneo prefiere principalmente eliminar el texto, una palabra, una letra o cualquier tipo de entidad escrita legible, incluso reconocible, que genera una imagen visual cercana a la abstracción que se define principalmente como caligrafía expresiva, experimental o abstracta. Hoy en día, cada vez más personas practican la caligrafía en forma de expresión a través de interpretaciones individuales y crean estilos personales con diversas motivaciones. El objetivo de esta investigación es conocer las prácticas contemporáneas de la caligrafía occidental, sus tendencias y manifestaciones, con el fin de trazar un panorama de su situación anterior y así cubrir el vacío existente en la bibliografía actual. Un gran memoria de literatura que consisten en caligrafía, sin embargo, muchos aspectos faltaban o no estaban claros para los investigadores con falta de claridad en la terminología. Si bien algunas perspectivas actuales tienen raíces en la tradición occidental, varios calígrafos se inspiran en otras disciplinas, como la música, la danza o la poesía; algunos reflejan las características significativas de otras tradiciones caligráficas, a saber, la caligrafía del Extremo Oriente y el Oriente Medio. Por esta razón, esta investigación se centra en la caligrafía occidental contemporánea, las prácticas contemporáneas y las posibles influencias de las tradiciones caligráficas del Extremo Oriente y Oriente Medio. Se fundamenta en una interacción entre la teoría y la práctica como su reflejo. Esta investigación tiene como objetivo centrarse en las prácticas occidentales contemporáneas para ubicar las diversas características y dinámicas que afectan las tendencias contemporáneas en Occidente. Esta investigación proporciona información importante para determinar las influencias y la dinámica de la caligrafía occidental contemporánea. Con este análisis, la evaluación en un marco amplio y el examen de perspectivas amplias, la investigación ofrece una nueva contribución significativa como referencia de caligrafía contemporánea para investigadores, profesionales y amateurs, que buscan una investigación amplia y diversa en el campo de la caligrafía occidental contemporánea, conceptualmente y prácticamente. [eng] The Western calligraphy tradition, with more than a two-thousand-year-old, evolved depending on the technical possibilities and various vernacular needs of the time. It has been utilized as a functional entity, which refers to writing, preserving, copying, and spreading the text meant to be read. On the other hand, contemporary Western calligraphy represents a significant shift from this tradition both technically and conceptually. It has started to be performed as an open field in which different ways of understanding Western calligraphy practices began to be encountered. Contemporary Western calligrapher mostly prefers to eliminate text, a word, a letter, or any kind of readable, even recognizable written entities, which come out with visual image close to abstraction that is primarily defined as expressive, experimental, or abstract calligraphy. Today, more and more people practice calligraphy in the form of expression through individual interpretations and create personal styles with various motivations. The objective of this research is to know the contemporary practices of Western calligraphy, its trends, and manifestations to draw an overview of its current situation and thus fill the existing gap in current literature. A great memory of a series of scripts consisting of calligraphy, however, many aspects were missing or unclear to the researchers with a lack of clarity in the terminology. While some current perspectives have roots in the Western tradition, various calligraphers take inspiration from other disciplines, such as music, dance, or poetry; some reflect the significant features of other calligraphy traditions, namely Far Eastern and Middle Eastern calligraphy. For this reason, this reserach focuses on contemporary Western calligraphy, contemporary practices, and possible influences of the Far Eastern and Middle Eastern calligraphy traditions. It grounds on an interaction between theory and practice as its reflection. This research aims to focus on contemporary Western practices to locate the various features and dynamics that affect contemporary tendencies in the West. This research provides significant insights into determining the influences and dynamics of contemporary Western calligraphy. With this analysis, evaluation in a broad framework, and examination of broad perspectives, the research offers a significant new contribution as a contemporary calligraphy reference for researchers, practitioners, and amateurs, seeking broad and diverse research in the field of contemporary Western calligraphy, conceptually and practically.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Recolector de Cienci...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Rapan Papeša, Anita;

    The dissertation deals with the time (Avar period) and spatial (interfluves of rivers Bosut, Vuka and Danube) limited group of finds and sites. According to available data Avar Period finds from this area are mostly associated with the period of the 8th century, however, some of them belonging an earlier or later stage, so that the absolute time frame can be defined from 650th to 850th. Space considered in the dissertation represents the northern part of Vukovar-Srijem County, bordered by the river Bosut in the south, Vuka river in the west and the River Danube in the north, and the state border in the east. The sites will be seen to topographic levels in order to obtain a form of using the space; these data will represent the basis for further targeted research of this period sites, as in the aforementioned area, and beyond, especially in the immediate vicinity. Small finds from the graves and settlements, as well as change finds will be stylish, typological and chronological classified compared to other known and published. This work by applying new methodological approach to the issue provides a cross-section of cultural, economic and political change on a defined area of the southern boundary of the Avar state. U disertaciji se obrađuje vremenski (avarodobno) i prostorno (međuriječje Bosuta, Vuke i Dunava) ograničena skupina nalaza i nalazišta. Prema dostupnim podatcima avarodobni nalazi s kojima raspolažemo u najvećoj mjeri vežu se uz razdoblje 8. stoljeća, međutim pojedini nalazi pripadaju i ranijem, ali kasnijem periodu, tako da apsolutni vremenski okvir možemo definirati od 650. do 850. godine. Prostor sagledan u disertaciji predstavlja sjeverni dio Vukovarsko-srijemske županije, omeđen rijekom Bosut na jugu, rijekom Vukom na zapadu i rijekom Dunav na sjeveru, te državnom granicom na istoku. Nalazišta će se sagledati do topografske razine u cilju dobivanja obrasca korištenja prostora; ti podatci predstavljat će osnovu za daljnja ciljana istraživanja lokaliteta ovog razdoblja, kao u navedenom prostoru, tako i šire, a napose u neposrednoj okolici. Pokretni nalazi iz grobova i naselja, kao i slučajni nalazi će se stilski, tipološki i kronološki klasificirati u odnosu na druge poznate i objavljene nalaze. Ovaj rad primjenom novih metodoloških pristupa problematici pruža presjek kulturoloških, gospodarskih i političkih promjena na definiranom prostoru južne granice avarske države.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Gradečak, Kristijan;

    Schelling's philosophical writings Ages of the World belong to the middle period of his intellectual work. The main subject of these writings is the idea of time, brought forward using a particular method of historical philosophy. This method is essentially different from all the previous deductions of the idea of time Schelling worked through in his systematical writings of philosophy of nature. The idea of time, as described in historical philosophy, appears as the idea of inner organisation of a divine being, and to describe philosophically that organization, means to reveal inner occurrences in the life of emerging God. In contrast to the pure rationalistic philosophy, which describes distinguishing moments in the historical life of the divine only negatively, Ages of the World represents Schelling's attempt to share positive description of that same history. Therefore, Ages of the World is inevitable for understanding the difference between negative and positive philosophy in the late period of Schelling's philosophical work. Among all writings that discuss the topic of Ages of the world, three versions of the writing describe the age of „Past“. The fragments on the „Present“ mostly contain only preparation and transition into the next book. The third book, which Schelling envisioned to describe the age of the „Future“, remains preserved only as one short draft. The first chapter of this doctoral thesis aims to illuminate Schelling's biographical path, up until the point where his Weltalter-project is mentioned no more, particularly in his correspondence with the publisher. The second chapter briefly reports on the current state in the publishing history of important Schelling's handwritings periodically discovered after his death. The third chapter describes Schelling's understanding of his own position and role in the history of philosophy. He explained this position in various ways, but the most significant understanding that he developed later refers to the distinction between negative and positive philosophy. These two philosophies he called pure rational and historical philosophy. The basic distinction between the two resides in Schelling's understanding of history of philosophy from Aristotle onwards predominantly as a history of negative philosophy. In Schelling's earlier work (for ex. Propaedeutics of Philosophy, 1804.), it is depicted as a history of advancement of reflection, while at the same time positive philosophy followed its course unto tradition of mystics and theosophy. Therefore, Schelling saw into history of philosophy as history of negative philosophy not overcomed, and unrealized positive philosophy, and his role would be to bring forth that very transition from negative to positive. His mature review of his earlier works shows that the tool needed to perform that transition lies in his systematic philosophy of nature. The fourth chapter aims to describe the main characteristics of the English empirical natural science as of late 18th century, and how it completely contrasts the fundaments of Schelling's and Goethe's natural philosophy. Schelling remarks that the main and the most fatal characteristic of english empirical view of nature is its tendency to exclude ideas out of natural research. That stance he shares with Goethe's teaching on metamorphosis. Goethe insisted on developing a faculty that is capable to see the idea using intuition. The latter should be applied on cognition of particular phenomena. Schelling however, aimed to translate Goethe's thought of metamoprhosis on the entire universe. The fifth chapter describes Schellings unique philosophy of nature and its position in the system of the entire philosophy. Particular concepts of space and time as two factors of illusory life of things are depicted as different types of falling out of original identity. The concept of time is defined deductively from the idea of absolute identity which is the principle of Schelling's systematical philosophy, but unlike the space which is a breakdown of identity into totality, time is a phenomenon of imagination (Einbildung) of original identity into physicality, so producing every durance. Chapter six derives Schellings understanding of science in itself. He concieved science as a dynamical system and he applied this viewpoint onto logical structure of science and drew the consequences into the field of ontology. Application of dynamic thinking on science results in a different understanding of logic of judgements: judgements have local, not absolute and generally applicable meaning/value. Therefore, science as a system of knowledge is essentially understood as a movement, as opposed to a static system of generally applicable prepositions. The concept of science as a movement places the soul into the centre of philosophical interest, interpreting it as the principle of inner movement and as a real bond. Therefore Schelling identifies science and soul in his so-called „anthropological scheme“. The seventh chapter gathers the results of „anthropological scheme“ and presents the significant role of the soul for the research in historical philosophy. This role and identity of the soul and science Schelling applied as the main introductional standpoint in the Ages of the World. To the soul as a bond (Band) itself, Schelling attributed so called „conscientia creationis“ (Mittwissenschaft der Schöpfung). It is the potential knowledge of everything that participates in the time of God and the world. This secret knowledge guarantees the entire path of the scientific movement – the beggining, the middle, and the end. Chapter eight extensively presents the main part of all three versions of the Ages of the World, with respect to the construction of idea of God. The construction of the three principals in the divine being rounds itself into the concept of primal nature, perceived as being captured in rotational movement. This unorderly movement is being stopped only by the decision of free spiritual act. The free decision therefore makes the beginning of time, so that the time is completely being determined as succesion of potencies in God. This succesion as the concept of nature is also the content of the „Past“. This past is the time of initial primeval nature, out of which two foundations arise: one of which is the world of visible nature, the other of the so called world of spirits. Chapter nine presents the content of the other two remaining versions of the „Past“, stressing out the difference in Schellings descriptions of the inner life of the divine being. The oldest version contains also the so-called „genealogy of time“ with its main subject – the idea of time. The time is organised in three eternal ages. In opposition to the mechanistic time-concept, Schelling`s idea of eternal time-ages enables us to consider time in physical as well as in spiritual aspect. Considering that, according to Schelling, homogenous and abstract time does not exist. Measurement of time as a form of reality is possible only through the power that counts changes that a thing had beard or experienced in its life. That being said, Schelling's understanding of time explicates Aristotle's notion of time as a number of movement which could not exist without soul as a cause of movement and a mind in soul which counts those movements. On the other hand, time could be understood as a power of measuring through which spirit encompasses all changes of a certain gender of being that fall into his domain. Therefore, the spirit is the ruler of time that divides everything that is, in three main moments. Chapter ten presents Schelling's fragments regarding the book of „Present“ and a short contentdraft on „Future“. These fragments instructively show Schellings intentions regarding both remaining books: in the book of „Present“ he intended to describe the genesis of visible nature and the world of spirits, and the book of „Future“ was supposed to demonstrate the reunion of those two worlds in the last age of the world. Time constitution of history takes human existence as a position of being-expelled from the centre of creation, which caused nature to become his present, and the world of spirits to become his future towards which he aspires. But, according to the idea of creation, the man is that kind of a being to whom nature should have been his past – likewise primaeval nature to God – and the world of spirits true present. Therefore, man's original fall is the preposition of Schelling's philosophy, and it results with the need to restore his spiritual-historical essence. That restorance could only be accomplished if a cognition becomes spiritualised, and that remains the primary task of the positive philosophy. Chapter eleven concludes with pointing out the main marks on the subject with rounded description of the entire movement from negative to positive philosophy. Knowledge of this movement is recognised in this PhD thesis as a philosophy of absolute spirit. The latter corresponds to the spirit as the form of thinking in the age of future. Schellingovi spisi o Dobima svijeta pripadaju srednjem razdoblju njegova stvaralaštva. Glavni predmet tih spisa čini ideja vremena koja se prikazuje po metodi povijesne filozofije. Ta metoda je bitno različita od dotadašnjih Schellingovih prikaza ideje vremena u kontekstu sistematskih spisa filozofije prirode. U povijesnoj filozofiji, u koju spadaju fragmentarni zapisi Doba svijeta, vrijeme se javlja kao ideja nutarnje organizacije božanskog bitstva, a filozofijski opis te organizacije utoliko je prikaz nutarnjeg događanja u životu postajućeg Boga. Naspram čisto racionalne filozofije, koja samo negativno prikazuje posebne momente u povijesti božanskog života, Doba svijeta predstavljaju Schellingov pokušaj pozitivnog prikaza te povijesti i utoliko su nezaobilazna za razumijevanje razlikovanja negativne i pozitivne filozofije u kasnom Schellingovu stvaralaštvu. Od svih tekstova koji obrađuju temu Doba svijeta, tri potpunije verzije spisa obrađuju epohu „Prošlosti“. Tekstovi fragmenata o „Sadašnjosti“ najvećim dijelom sadrže samo pripremu i prijelaz u novu knjigu. Od predviđene treće knjige o „Budućnosti“ ostala je sačuvana možda samo skica sadržaja. U prvom poglavlju rada prikazan je osnovni Schellingov biografski i filozofijski put, praćen do onih mjesta u spisima kada se Dobā svijeta prestaju javljati kao djelo koje je Schelling tijekom dugog razdoblja najavljivao, poglavito u korespondenciji. Drugo poglavlje ukratko donosi izvještaj o trenutnom stanju Schellingove rukopisne ostavštine i iznosi opću kronologiju otkrića značajnih Schellingovih rukopisa nakon njegove smrti. Treće poglavlje izlaže Schellingovo shvaćanje vlastitog položaja i uloge u povijesti filozofije, s obzirom na pozno razlikovanje negativne i pozitivne filozofije, kojim Schelling povratno tumači cijelu povijest filozofije u dvije usporedne linije – čisto racionalne i povijesne odnosno pozitivne filozofije. U četvrtom poglavlju obrazlažu se bitne značajke engleskog prirodoslovlja do kraja 18. stoljeća uz objašnjenje suprotnosti temeljnih polazišta Schellingova i Goetheova religijsko-prirodnog nazora spram takva stava u prirodoslovlju. Kao osnovnu karakteristiku engleskog empirizma Schelling ističe uklanjanje ideja iz filozofije prirode, s kobnim posljedicama takva stajališta na razvoj prirodne znanosti. Peto poglavlje prikazuje Schellingovu filozofiju prirode u sistemu cjelokupne filozofije, gdje se pojam vremena javlja u sklopu deduktivnog izvođenja osnovnih pojmova iz ideje apsolutnog identiteta. Šesto poglavlje prikazuje Schellingovo shvaćanje filozofije kao znanosti. Dinamističko stajalište iz filozofije prirode Schelling primjenjuje na logički ustroj znanstvenog mišljenja, s krajnjim poljedicama na području ontologije. Shvaćanje znanosti kao kretanja u središte filozofijskog interesa postavlja dušu kao princip kretanja i vezu, odakle se u antropološkoj shemi duša poistovjećuje sa samom znanošću. Sedmo poglavlje preuzima rezultat antropološke sheme i pokazuje ulogu duše u metodi istraživanja povijesne filozofije, što Schelling stavlja kao uvodne postavke spisima Dobā svijeta. Osmo poglavlje detaljno prikazuje glavni dio najpotpunije verzije spisa Dobā svijeta u kojem se izlaže konstrukcija ideje Boga. Konstrukcija triju principa u božanskom bitstvu zaokružuje pojam iskonske prirode, prikazane u rotacijskom kretanju, koje se prekida slobodnom duhovnom odlukom. Slobodna odluka je početak vremena, a ono se u cijelosti određuje kao uzastopni slijed potencija u Bogu. Time se zaokružuje pojam prirode u Dobima svijeta kao sadržaj epohe „Prošlosti“. Deveto poglavlje izlaže sadržaj preostale dvije verzije spisa Dobā svijeta, naglašavajući razliku u prikazima geneze božanskog bitstva. U najstarijoj verziji spisa izložena je i „genealogija vremena“. U tom dijelu Schelling iznosi svoju ideju vremena, po kojoj je ono strukturirano kroz tri vječna eona. Nasuprot mehanicističkom poimanju vremena, Schellingova ideja o eonima omogućuje razmatranje vremena kako u tjelesnom tako i duhovnom svijetu. Deseto poglavlje izlaže Schellingove fragmente o „Sadašnjosti“ i skicu sadržaja za knjigu o „Budućnosti“. Iz fragmenata se dade protumačiti što je Schelling namjeravao prikazati u objema zasebnim knjigama: knjiga o „Sadašnjosti“ prikazivala bi genezu vidljive prirode i svijeta duhova, a u „Budućnost“ ponovno sjedinjenje tih dvaju svjetova u posljednjem vremenu svijeta. Jedanaesto poglavlje zaključno izlaže glavne točke rada i prikazuje cjelinu kretanja iz negativne u pozitivnu filozofiju kao filozofiju apsolutnog duha. Potonja odgovara duhu kao mišljenju trećeg eona, budućnosti.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
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    Authors: Padilla Peñuela, Christian;

    [spa] La investigación evidenciará cómo la consolidación del arte moderno en Colombia estuvo ligada a un proyecto político panamericano originado en Estados Unidos para combatir la influencia del comunismo en los intelectuales y artistas de América Latina durante la Guerra Fría, principalmente atacando y desestimulando la influencia del muralismo mexicano en los países de la región, y por otro lado, apoyando manifestaciones artísticas que consideraban apolíticas e inofensivas como la abstracción y otras tendencias emergentes, defendidas por sus valores formales y no por el contenido de las obras. Estas políticas culturales tuvieron su auge en Latinoamérica a través del curador cubano José Gómez Sicre (Matanzas, Cuba, 1916 – Washington, Estados Unidos, 1991) y su influyente cargo como director de la Sección de Artes Visuales de la Pan American Union (PAU), dependencia de la Organización de los Estados Americanos (OEA) ubicada en Washington. Desde la galería de la PAU, Gómez Sicre creó un programa artístico que tuvo recepción y proyección en Colombia a través de la crítica argentina Marta Traba, con quien coincidió en su aversión por el muralismo y el arte de denuncia política, y con quien convergió en el apoyo y defensa de las prácticas modernas entre los artistas jóvenes. El éxito de este programa se debió en gran medida al apoyo económico de la petrolera ESSO, filial en Colombia de la Standard Oil Company de Estados Unidos, que premió, promovió y financió proyectos artísticos a lo largo del continente basados en la concepción del arte como una expresión de creación y libertad en los países capitalistas, en oposición al realismo socialista como arte oficial del comunismo. Así, Estados Unidos, en la defensa de sus intereses económicos y comerciales ejerció intervencionismo cultural en Colombia a través del arte. La alianza entre Traba y Gómez Sicre delineó, definió e institucionalizó el concepto de arte moderno a través de libros y artículos de crítica, exposiciones, premios y la fundación de museos, logrando que una generación joven de artistas (entre quienes vale la pena mencionar a Alejandro Obregón, Fernando Botero, Eduardo Ramírez Villamizar y Edgar Negret) se proyectara con éxito internacionalmente por primera vez. De esta forma, la abstracción y la nueva figuración se convirtieron en manifestaciones artísticas de vanguardia que opacaron y marginaron la fuerte influencia en Colombia del muralismo mexicano y su pintura de denuncia política. Sin embargo, la misma conducta intervencionista de Estados Unidos en Latinoamérica dentro de sus políticas exteriores de Guerra Fría, expresada en intervenciones militares, apoyo a dictaduras y financiación de la represión al pensamiento disidente, produjo a mediados de la década de 1960 el repudio de los intelectuales, artistas y jóvenes, generando una inevitable ruptura de aquel proyecto panamericano para las artes. Los artistas e intelectuales politizaron su trabajo de acuerdo a las condiciones políticas y sociales del momento, y el mecenazgo cultural de Estados Unidos perdió su interés e impulso por continuar financiando las artes. [eng] This research will reveal how the consolidation of modern art in Colombia was linked to a Pan-American political project initiated in the United States to combat the influence of communism on Latin American intellectuals and artists during the Cold War, mainly by attacking and discouraging the influence of Mexican muralism in the countries of the region, and on the other hand, by supporting artistic manifestations that they considered apolitical and inoffensive, such as abstraction and other emerging trends, defended by their formal values and not by the content of the works. These cultural policies had their peak in Latin America through the Cuban curator José Gómez Sicre (Matanzas, Cuba, 1916 – Washington, United States, 1991) and his influential position as Director of the Visual Arts Section of the Pan American Union (PAU), dependency of the Organization of American States (OAS) located in Washington. From the PAU gallery, Gómez Sicre created an artistic program that was received and projected in Colombia through the Argentine critic Marta Traba, with whom he coincided in his aversion to muralism and the art of political denunciation, and with whom he converged in the support and defense of modern practices among young artists. The success of this program was largely due to the financial support of the oil company ESSO, a subsidiary in Colombia of the Standard Oil Company of the United States, which rewarded, promoted and financed artistic projects throughout the continent based on the conception of art as an expression of creation and freedom in capitalist countries, in opposition to social realism as the official art of communism. Thus, the United States exercised cultural interventionism in Colombia through art. The alliance between Traba and Gómez Sicre delineated, defined and institutionalized the concept of modern art through critical books and articles, exhibitions, awards and the foundation of museums, achieving that a young generation of artists (among whom it is worth mentioning Alejandro Obregón, Fernando Botero, Eduardo Ramírez Villamizar and Edgar Negret) would be successfully projected internationally for the first time. In this way, abstraction and the new figuration became avant-garde artistic manifestations that overshadowed and marginalized the strong influence in Colombia of Mexican muralism and its painting of political denunciation. However, the same interventionist conduct of the United States in Latin America within its Cold War foreign policies, expressed in military interventions, support for dictatorships and financing of the repression of dissident thought, produced in the mid-1960s the repudiation of the intellectuals, artists and young people, generating an inevitable rupture of that Pan-American project for the arts. Artists and intellectuals politicize their work according to the oppressive social conditions of the moment, and therefore cultural patronage of the United States loses its interest and impulse to continue financing the arts. Programa de Doctorat en Història de l'Art

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Recolector de Cienci...arrow_drop_down
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    Authors: Méndez Salamanca, Nelson Michael;

    Los desafíos actuales abarcan un sinnúmero de situaciones que afectan notoriamente la condición humana; el devenir constante de elementos emergentes, diversos, complejos, hacen que la existencia en este mundo se tenga que adaptar y en efecto es lo que se vive en la actualidad. El desarrollo vertiginoso de la sociedad y sus procesos evolutivos conllevan a aplicar una resiliencia que hace algunas décadas no era tan evidente; es así como, los desarrollos tecnológicos, cada vez son más frecuentes y versátiles, a diario se vislumbran actualizaciones, nuevas versiones, prototipos, entre otros; el mundo cambiante en el que la sociedad se desenvuelve está en constante movimiento y la relación humana/tecnología se religa con mayor relevancia en contextos multipropósito. Con esta denotación, se hace entrever que la evolución de la tecnología permite interactuar con lugares, personas, empresas, en formato online; el ser humano ha creado una tecnosfera, que propicia la posibilidad de interrelacionarse con la realidad tangible e intangible que lo rodea, en tiempo real. Al iniciar la tercera década del siglo XXI, surge una crisis mundial con la aparición de un virus originario de Wuhan (China) el 31 de diciembre de 2019, según datos de la Organización Mundial de la salud (OMS, 2019, Párr. 1). Esta situación obligó a la humanidad a un confinamiento preventivo para disminuir el contagio debido al crecimiento vertiginoso de la enfermedad, el colapso planetario afectó todas las esferas y en especial el comportamiento humano. La educación a nivel mundial entró en crisis al no estar preparado el sistema educativo para una educación remota, una educación desde casa. Según datos del Banco Mundial (2020) The current challenges cover a number of situations that notoriously affect the human condition; The constant evolution of emerging, diverse, complex elements means that existence in this world has to adapt, and in fact it is what is lived today. The vertiginous development of society and its evolutionary processes lead to applying a resilience that a few decades ago was not so evident; This is how technological developments are becoming more frequent and versatile, daily updates, new versions, prototypes, among others; the changing world in which society unfolds is in constant movement and the human/technology relationship is linked with greater relevance in multipurpose contexts. With this denotation, it is suggested that the evolution of technology allows interaction with places, people, companies, in online format; the human being has created a technosphere, which fosters the possibility of interrelating with the tangible and intangible reality that surrounds him, in real time. At the beginning of the third decade of the 21st century, a global crisis arises with the appearance of a virus originating in Wuhan (China) on December 31, 2019, according to data from the World Health Organization (WHO, 2019, Para. 1) . This situation forced humanity into preventive confinement to reduce contagion due to the dizzying growth of the disease, the planetary collapse affected all spheres and especially human behavior. Education worldwide entered a crisis as the educational system was not prepared for remote education, education from home. According to data from the World Bank (2020)

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Repositorio Universidad Simón Bolívar
    Doctoral thesis . 2022
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Universi...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Repositorio Universidad Simón Bolívar
      Doctoral thesis . 2022
      License: CC BY NC ND
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      This Research product is the result of merged Research products in OpenAIRE.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Bujak, Edin;

    Archaeological excavations of late medieval cemeteries in central Bosnia were quite rare and generally did not follow the intensity of archaeological excavations of sites from other time periods. Only about thirty cemeteries have been excavated, mostly only partly, while there are probably more than 600 cemeteries here. In addition, excavation results have rarely been published in full. In writing the dissertation, material remains of the late medieval period found mainly during archaeological excavations, from the area of central Bosnia were used. In doing so, presented data were collected from several sources. First of all, the results of the archeological excavations of the cemeteries that the author conducted in the past period are presented (Kopošići near Ilijaš, Divičani near Jajce, Arnautovići near Vsioki, Metaljica near Tarčin). Also, a detailed review of professional and scientific literature and sources published from the end of the 19th century to the present day was performed, as well as a review of available archaeological reports and field documentation. Previous research has mainly focused on presenting the results of excavations of individual cemeteries or partial processing of archaeological material found in graves. There were no works in which different types of graves were synthetically considered, starting from simple burial in the ground, all the way to complex structures in the form of or sarcophagi made in the shape of a human body. The situation is the same to the rather small number of finds from the graves. Nevertheless, all this makes it possible to read the social stratification of the late medieval population of central Bosnia. In the first place, it should be said that cemeteries next to churches are much rarer here compared to other parts of late medieval Bosnia and Europe. A good indicator of that is the number of over 600 cemeteries with stećak tombstones in the central Bosnia. Of course, we should not ignore the fact that here, too, people were buried next to churches or inside them, especially when it comes to cities or larger settlements such as Jajce or Arnautovići. Thus, the interior of the church in Jajce was completely filled with graves, and it was similar in Arnautovići. On the other hand, everywhere in the landscape, there are numerous, mostly smaller, cemeteries that represent a relic of burial on their own land, as is often stated in the inscriptions on stećak tombstones. The most probable reason for this lies in the fact that the reorganization of the parish system, which took place from the 11th to the 13th century in Europe, was not completed here. One of the reasons is the complex religious situation within the Bosnian state. From 1233, Bosnia remained without its diocese. It was moved to Đakovo. This ends the chapter of church reform in this area rather ingloriously. Unresolved religious issues would remain here until the second half of the 15th century. Burials inside the church were reserved for the clergy or nobility, as evidenced by burials inside the church of St. Marija in Jajce or Arnautovići near Visoko. However, members of the high nobility were also buried in smaller family cemeteries without church, as was the case in Kopošići near Ilijaš, where princes Mirko Radojević and Batić Mirković were buried. The main characteristic of the cemeteries in the central Bosnia is the placement of stećak tombstones above the graves. They were placed around the churches as well, but not inside them. The position of the deceased in all the cemeteries analyzed in this work is in most cases analogous to the general medieval Christian principle of burying the dead. As a rule, deceased were lying in the graves on their backs. The position of the arms varies from stretched out next to the body, crossed on the chest, lowered to the pelvis or some other variants. The depth of the graves varies and no principle can be drawn from it. Children's graves were the shallowest, what is quite understandable. The unnatural positions of the deceased, which appear sporadically, are in any case the exception, not the rule. Examples of this are the burials of the deceased without a head (Kopošići, Varošište) or with the face facing the ground (Oborci, Čipuljići). Most of the dead were buried in the plain soil. However, several burials have been registered in wooden coffins, some of which are quite massive, such as those from Pavlovac and Kopošići. Wood was used in graves in other ways, ie the deceased were covered with wooden planks (Potkriž, Guča Gora). The most numerous is the use of stone. Sometimes one or more stones were placed in the grave around the deceased, in several cases the construction was made of stone slabs in roof like formation above the deceased (Čelebići, Perin Han, Gornja Višnjica, Šabići) or by making a chest from the slabs (Luke, Ćatići). Stone walled tombs appear exclusively inside churches or mausoleums (Jajce, Turbe). Special cases are the central Bosnian stone sarcophagi. They consist of two parts: a lid and a lower part that was usually made in the shape of a human body. They seem to be a unique phenomenon both in Central Bosnia and in Central Europe in Late Medieval period. We find parallels only in the medieval monastic sarcophagi in England. To date, most of them have been found in the area of Travnik. In the central Bosnia, the existence of underground masonry mausoleums was also recorded. They were reserved mainly for prominent members of the nobility. Such are the mausoleums of Batalo in Turbe near Travnik, of Nespina near Visoko or the great judge Gradiša near Zenica. In this context, the unfinished underground mausoleum church - the so-called catacombs of Hrvoje Vukčić in Jajce, should be mentioned. The orientation of the graves is rather uneven. It is safe to say that the west-east appears in most cases, but that it is by no means dominant. Many cemeteries have a completely opposite or partially opposite orientation, and in several cases some of the graves are oriented opposite. In the cemeteries next to the church, the graves are in principle oriented in the same way as the church. Based on that, it can be concluded that if there is no church that can serve as a basis for orientation, then the graves are oriented according to some other determinants. These can be roads that pass by a cemetery, a river or some other parameters. It is in accordance with this that cemeteries in this area were most often formed along roads, streams or rivers. These are usually more or less elevated terrains in relation to the surroundings. Cemeteries are often near settlements, and sometimes next to fortified towns or within their walls like in Jajce. Another phenomenon in this area should be mentioned. In several cases cemeteries were built on apparently artificial creations that look like tumuli. They have been registered at the Gajani site in Alihodže near Travnik, Metaljica in Vilovac near Hadžići, Mile near Jajce, Markov kamen and Grebak near Zenica. Finds inside graves are rare but still occur. At the large cemetery in Čipuljići near Bugojno, approximately one third of the graves contained finds. In addition, finds in the form of coins, glass cups (Sarajevo, Biskup, Visoko), ceramic vessels (Biskup, Međuputnica, Didino guvno, Tičići) and rarely weapons (Čipuljići) appear on several others. In the jewelry category, it is mostly about earrings or rings. They mostly come from graves in which wealthier deceased people or nobles are buried. Among them, the most important are certainly the massive seal rings that are associated with King Tvrtko I Kotromanić or members of the noble family Pribinić. In several cases, the remains of textiles were found, as a rule of brocade, which are quite well preserved due to their metal parts, as is the case with Kopošići, Arnautovići, Biskup, Glavica, etc. In principle, members of the nobility are buried in these graves, so it is not surprising that they are buried in expensive pieces of clothing. In smaller cemeteries where ordinary people were buried, the finds were simpler or made of cheaper materials. Silver and gold are dominant in the graves of the most prominent. Most of the excavated graves in central Bosnia belong to adults. The lack or small number of child burials can be explained in several ways. In the first place is the absence of fully explored cemeteries. Another possibility is that children's graves were buried shallower, and children's bones are more sensitive to soil acidity, which ultimately leads to their disappearance. Not much can be said about paloedemographic analyzes for now. Data on anthropological analyzes from most of the investigated larger cemeteries are missing as well. Unfortunately, we still know very few exact dates for the cemeteries in central Bosnia. So far, only two 14C analyzes have been performed, one sample from the Arnautovići near Visoko and one from Zgošća near Kakanj. The sample from Arnautovići showed the date 1389- 1437. years with a 95.4% probability. On the other hand, the sample from Zgošća gave a much earlier date, in the middle of the 13th century. In addition, a couple of researched cemeteries can be dated based on written sources. Thus we know that the cemetery in Kopošići was used at the end of the 14th and the beginning of the 15th century. All this allows us to date the excavated cemeteries in central Bosnia from the 13th to the middle of the 15th century. Arheološka istraživanja kasnosrednjovjekovnih grobalja na prostoru srednje Bosne bila su poprilično rijetka i uglavnom nisu pratila intenzitet arheoloških iskopavanja lokaliteta iz drugih vremenskih epoha. Istraženo je, i to uglavnom parcijalno, tek nekih tridesetak grobalja, dok ih je vjerovatno bilo više od 600. Osim toga, rezultati iskopavanja su rijetko u cjelosti objavljeni. U pisanju disertacije upotrebljeni su materijalni ostaci kasnosrednjovjekovnog razdoblja s područja srednje Bosne do kojih se došlo uglavnom tijekom arheoloških istraživanja. Pri tom, podaci korišteni za znanstvenu obradu su prikupljeni iz nekoliko izvora. Prvenstveno su prezentirani rezultati iskopavanja grobalja koja je autor u proteklom periodu obavio (Kopošići kod Ilijaša, Divičani kod Jajca, Arnautovići kod Visokog, Metaljica kod Tarčina). Izvršen je i detaljan pregled stručne i znanstvene literature i izvora objavljenih od kraja XIX stoljeća do danas, kao i pregled dostupnih arheoloških izvješća i terenske dokumentacije. Dosadašnja istraživanja su se uglavnom odnosila na prezentiranje rezultata iskopavanja pojedinih grobalja ili parcijalnu obradu arheološkog materijala pronađenog u grobovima. Nije bilo radova u kojima bi bile sintetski sagledane različite vrste grobova počevši od ukopa u prostu zemlju pa sve do složenih konstrukcija u vidu raka napravljenih od kamenih ploča ili pak sarkofaga u obliku ljudskog tijela. Ista je situacija i sa, istina po prilično malobrojnim, nalazima i prilozima iz grobova. Pa ipak, sve to omogućava da se iščita socijalna slojevitost kasnosrednjovjekovnog življa srednje Bosne. Posmatrajući topografski položaj grobalja i njihov odnos sa prometnicama i crkvenim objektima može se zaključiti da je na ovom području dominantno sahranjivanje na vlastitoj zemlji, na manjim porodičnim grobljima bez ikakvih vjerskih objekata iako ne treba zanemariti i činjenicu da se u većim i urbanijim središtima sahranjivalo i pored crkava kakav je slučaj u Arnautovićima kod Visokog. Osim toga, položaj je skoro uvijek takakv da se groblje nalazilo na uzvišenom mjestu u odnosu na okolinu pri čemu su u obzir dolazili uglavnom manji prirodni brežuljci. U radu su po prvi put na jednom mjestu prikupljeni i analizirani svi dostupni podaci o arheološki istraženim kasnosrednjovjekovnim grobljima na području srednje Bosne. Na taj način arheološki materijal se može posmatrati i analizirati u arheološkom krajoliku unutar jedne topografske cjeline. Prikupljeni podaci su omogućili promatranje pozicioniranja groblja u odnosu na prometnice, gospodarske i rezidencijalne te sakralne objekte. Uz to može se, u skladu sa mogućnostima arheološkog materijala, posmatrati socijalna struktura stanovništva na području srednje Bosne, što se može iskoristiti za usporedne procese u srednjovjekovnoj Europi istog perioda. Na kraju, u radu su po prvi put prezentirani rezultati arheoloških iskopavanja više grobalja na predmetnom teritoriju. Osim toga prikupljeni i analizirani podaci omogućuju uvid u pogrebnu praksu kasnog srednjeg vijeka posebno jer se radi o području koje na ovaj način ranije nije stručno obrađivano.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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