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Re-inventing the East: the interpretation of Eastern Architecture in Venetian Renaissance painting
No full textLa presente dissertazione dottorale si occupa di indagare i rapporti esistenti fra Venezia e l'Oriente nella pittura veneziana rinascimentale. Nel primo capitolo, Venezia e l’Oriente vengono analizzati nel contesto dei legami storici fra essi esistenti, poiché il problema del “proprio-altro da sé” è riflesso nella realtà della vita veneziana del Medioevo e del Rinascimento. Vengono analizzate in modo più ampio e dettagliato le tappe e le modalità con cui i veneziani (non soltanto soldati, mercanti, viaggiatori, ma anche colti intellettuali e artisti) entravano in contatto con le manifestazioni concrete della cultura orientale. Grande rilievo è dedicato alle fasi di penetrazione dell’influenza orientale nella struttura architettonica della città, che per tale motivo è stata associata al concetto di Oriente. Questo, a sua volta, pone il problema di come si debbano intendere le raffigurazioni, per esempio del simbolo di Venezia – la cattedrale di San Marco – nei cicli dei pittori veneziani del Rinascimento. Lo studio diretto delle forme concrete permette di scoprire la specificità dell’atteggiamento verso l’Oriente, tipico della mentalità artistica veneziana. Grande attenzione è riservata all’interpretazione statale delle varie forme dell’Oriente in diversi periodi come base dei programmi pittorici. Il secondo capitolo contiene l’analisi dei motivi architettonici nella rappresentazione dei loci biblici nelle tele dei pittori rinascimentali veneziani. È qui offerta una breve panoramica e un’analisi tipologica e si spiega il significato dei motivi architettonici nella pittura veneziana del Rinascimento. Viene preso in esame l’insieme di rappresentazioni idealizzate e talvolta fantastiche dei pittori veneziani del Rinascimento sia riguardo all’architettura degli antichi sia in generale alle forme architettoniche sacre, comprese ovviamente quelle esistenti nell’area orientale. Seguendo i metodi iconografici e iconologici, la tesi tenta di ricostruire il pensiero artistico dei pittori veneziani del tempo (Cima da Conegliano, Bellini, Mantegna, Carpaccio, Crivelli, Previtali, Bastiani, Moretto, Lotto, Tiziano, Bassano, Veronese, Tintoretto), i motivi e i reali scopi della creazione per loro di programmi da parte dei committenti. Nel terzo capitolo per la prima volta si tenta di dare una rassegna completa e di proporre un’analisi comparativa della rappresentazione dell’architettura di Gerusalemme nelle tele del Quattrocento e del Cinquecento. Domina in questo contesto la letteratura che prende in considerazione il legame fra Venezia e Roma oppure Venezia e Costantinopoli. Sull’esempio della rappresentazione dell’architettura di Gerusalemme nelle tele di Mantegna, Carpaccio, Bellini, Cima, Tiziano, Tintoretto e molti altri, si determina la graduale penetrazione di motivi antichizzanti, che rappresentano il trionfo delle idee del Rinascimento. L’architettura nelle tele dei pittori veneziani del Rinascimento dedicate ai cicli sulle vite dei santi è l’oggetto del quarto capitolo, dove vengono prese in analisi le fonti visive e scritte e i programmi di rappresentazione. Vengono inoltre analizzati i fondamenti storici e pittorico-figurativi dei motivi presenti nelle tele dedicate a San Marco (di Mansueti, Bellini, Tintoretto e altri). Una grande quantità di materiale per l’analisi dell’architettura “orientale” si trova anche nelle composizioni che rappresentano i cicli della vita di san Giorgio e san Trifone (di Carpaccio) e altri. Infine nel capitolo conclusivo viene proposta un’analisi dettagliata della ricezione artistica e storica delle opere «L’accoglienza degli ambasciatori veneziani in una città orientale» (Louvre) e «L’arrivo del futuro doge Alvise II Mocenigo come ambasciatore a Costantinopoli» ” di Antonio Stroma (Museo di Palazzo Moccenigo a San Stae). Vengono inoltre proposti esempi tratti dai bozzetti grafici dei viaggiatori veneziani in Oriente
ROBERT FALK AND ITALY
Get PDFn the personal fate of the “quiet jack of diamonds”, Robert Falk, his ten-year stay in France played an important role; the innovations of French art influenced his creative passions. Meanwhile, Falk was interested in broad cultural strata. In the proposed article, for the first time, a seemingly marginal topic of his reflection on Italy and understanding of Italian art are highlighted. The journey of 1911, when the young artist, mostly on foot, visited dozens of cities and memorable places in northern Italy, made an unforgettable impression on him, the echoes of which (for example, the Ravenna mosaics) were reflected in his painting. However, we are not talking about direct natural images. The Italian “look” appears only on one canvas by Falk, Sienna. Memories of Italy, painted from memory after this eventful visit. Throughout his life, Falk carefully and analytically observed the masterpieces of the Italian Renaissance classics, sometimes changing his views and assessments, as happened with the great Venetians and Raphael. The first impression of the city was so strong that at the early time of acquaintance with Venice, with architecture, with the special light of the lagoon, the works of its art were out of Falk’s attention, who later appreciated them. The Ravenna mosaics especially attracted the artist’s attention, primarily the individuality of each mini-fragment of the colourful surface, textured complexity. Thus, in Falk’s dense painting, the influences of the foundations of Cezanne and early Byzantine masterpieces were simultaneously present. In addition, the texture attracted him in Titian’s painting, which he appreciated in the Hermitage and Louvre collections. In the Louvre, the interpretation of white in Raphael’s masterpiece Donna Velata attracted the artist’s attention. In the perception of early Falk, “dull” Sistine Madonna at the Moscow exhibition in 1956 struck him with “greatness and beauty”. The “Italian experience” was constantly used by the artist in his analytical and pedagogical work. As a “feedback”, the article gives examples of writer Carlo Levi and film director Michelangelo Antonioni’s high attitude towards painting of one of the greatest masters of Russian art of the 20th century
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
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