1,527,116 research outputs found
Letter from Joel H. Lucia to the Adjutant General, U.S. Army, 21 August 1865
No full textLetter from Joel H. Lucia in Bridport, Vermont, to the Adjutant General of the U.S. Army, with note added from Major T. A. Dodge of the Veterans Reserve Corps; Lucia describes his Civil War service and inquires about appointments into the Veteran Reserve Corps; dated 21 August 1865 and received on 24 August 1865
Traversing the boundaries? Art and film in Indonesia with particular reference to Perbatasan/boundaries: Lucia Hartini, paintings from a life
No full textThe repressive political conditions of the New Order state and the social dislocation caused by rapid industrial and technological development unquestionably affected the nature of artistic and cultural production in Indonesia. This thesis considers the dynamic of these conditions within a focused long-term study of the art and life of Indonesian "Surealis" painter, Lucia Hartini. My doctoral dissertation comprises this thesis and the forty-two minute documentary film Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) which I filmed in Indonesia and presents Lucia Hartini and her art in the context of her times from the historical standpoint of Reformasi and millennial change. Art historically, this thesis informs us of a wider journey, that of selected twentieth century Indonesian contemporary artists exploring concepts of simulacra, hyper-reality, the meta-real and the surreal through the stylistic use of photo-realism.
Lucia Hartini is known for her "Beautiful Surrealism". A founding member of the "Surealis Yogya", formed in 1985, she was the only woman from the original group to continue painting professionally from the late 1970s, throughout the New Order, and into the era of Reform. The consideration of Lucia Hartini's work in this thesis acknowledges the gradual shift in her concerns. Lucia's paintings respond to her natural and social environment, as well as to the challenges and dramatic changes in her life. This thesis charts the journey of her artistic maturation, so richly embodied in her third solo exhibition, "Irama Kehidupan / The Spirit of Life", in January 2002. Through a critical commentary on paintings selected from her oeuvre and the textual analysis of Perbatasan / Boundaries, I discuss Lucia Hartini’s subject matter, unique systems of image formation and use of detail, her particular contribution to the characteristic qualities of Indonesian "Surealisme". I regard the techniques, conceptual approaches and processes of filmmaking as intrinsic to this exploration, a methodological perspective arising from Hendro Wiyanto (2001) observation that Indonesia's "Surealis" artists present us with "reality bundled as a dream".
Lucia Hartini’s work raises questions of gender and personal transformation. This thesis argues that, for many years, the tensions created by the contrary forces of political repression and social transformation characterising much of New Order Indonesia, were reflected in her art. In a microcosmic-macrocosmic sense, Lucia and her art quietly contributed to attitudinal and social change in Indonesia. Works painted between 1986 and 1996 autobiographically chart a shift from personal distress to a growing sense of empowerment, followed by life-changing spiritual growth. I contextualize these paintings socially by studying the changing interstices between Lucia Hartini’s private life, her professional creative practice and the public persona she adopted in Indonesia’s emergent civilian society. My approach is informed by a conceptual framework based on difference, hybridity and its transformations, on the psychology of borderlands, negotiation and the transcendence of boundaries, witnessed through a study of the spiritual practice and quest for religious tolerance important to Lucia and evident in her art. This thesis reveals those boundaries which were transcended and those which remain negotiable.
Twice filming Lucia Hartini’s art, I was also affected by the dramatically different conditions of production prevailing in 1992 in New Order Indonesia and those possible between 1999 and 2001 during Reformasi. These differences are highlighted in the textual analysis of Perbatasan / Boundaries. Engaging comparisons between contemporary Indonesian art and Indonesian documentary and feature films, I discuss important attempts to solve the problems associated with restrictions on freedom of expression in paintings made prior to Reformasi. I consider the different uses of figurative realism to depict subjects deemed controversial by the state, and the creation of credible representations in art and convincing characterisations in filmmaking. The dramatically real yet poetic work of the Indonesian Neo-realist filmmakers of the 1950s exemplified one such solution. Their films and ideas prompted comparisons with the photo-realism, poetic intent and dramatic juxtapositional image making of the "Surealis Yogya". The relationship I perceive between Neo-realist cinematic practice and contemporary international documentary filmmaking encouraged me to make a documentary about Lucia rather than a purely creative or experimentally surreal work. Because of Reformasi and the changes wrought by Lucia’s personal development, Perbatasan / Boundaries: Lucia Hartini, Paintings from a Life (1999 – 2002) is the documentary which my first short experimental video, Pusaran / Vortex: From the Kitchen to Outer Space (1992 - 1993), made during the New Order, could not be
Boccaccio letterato, umanista e narratore Intervista di Elisabetta Menetti a Lucia Battaglia Ricci
No full textUn dialogo che ripercorre le questioni critiche che hanno mosso gli studi di Lucia Battaglia Ricci sul capolavoro di Giovanni Boccaccio
Bhajan Hunjan Connecting With Maria Lucia Cattani
No full textExhibition catalogue for Bhajan Hunjan Connecting With Maria Lucia CattaniExhibition shown at: Winchester School of Art Library January-March 2023Special Collections and Archives space at Women Artists Slide Library, Goldsmiths College London April-June 2023Bhajan Hunjan (b. 1956) was the 2020 Artist in Residence at Projecto Maria Lucia Cattani, Brazil. https://marialuciacattani.wordpress.com/This initiative celebrates the life and work of the highly respected Brazilian artist, Maria Lucia Cattani, (1958-2015). Artist Nick Rands has invited a succession of artists and curators to respond to his late wife’s work, to use her Porto Alegre studio and to mount joint exhibitions of their own work and hers, selected from the archive of her work.<br/
Vivere di traduzioni : lettere di Elio Vittorini a Lucia Rodocanachi
No full textNella sua opera di traduttore (anni '30-'40), Elio Vittorini si avvalse in più occasioni della collaborazione di Lucia Rodocanachi, colta signora di origine triestina nella cui casa ligure di Arenzano trovava spesso convegno una piccola comunità di amici artisti e letterati. Il saggio introduce il volume delle lettere inviate da Vittorini a Lucia - lettere conservate attualmente presso la Biblioteca Universitaria di Genova - contestualizzandole e mostrandone le implicazioni al di là delle ricostruzioni scandalistiche che ne sono state già offerte
Boxer missing a leg
No full textA side-view of Pacific University's original "Boxer" mascot statue, circa 1950. The photograph is in black-and-white, making the statue appear to be the color of steel: but it was in fact bronze, with gold-toned welding marks. In this image, Boxer is missing one leg and his tail. Welding marks are visible on his other leg and neck. This damage was sustained during "Boxer Tosses," when students would fight over possession of the statue. This photograph may have been taken by Ellis Lucia (Class of 1944), as it was found in his archival papers. Lucia became a photojournalist after graduating from Pacific, and may have taken this photograph in the late 1940s or early 1950s
Education and Training in St.Lucia: A Partially Annotated Bibliography
No full textThis bibliography on “Education and Training in St. Lucia” has been specifically prepared for the UWI School of Continuing Studies’ St. Lucia Country Conference. An attempt has been made to be as comprehensive as possible, but because of the weak bibliographical coverage of the literature of the region, important items may have been omitted. This is especially true for policy documents emanating from official sources. It covers all aspects of education and training in St.Lucia including distance education, educational finance,health and family life education and educational reform
Lucia Sanchez petting a filly named "Frisky"
No full textPhotograph shows Lucia Sanchez petting a filly on part of the Quesenberry Ranch on Quesenberry Road
Palermo e Santa Lucia siracusana
No full textNella Sicilia paleocristiana, il culto della martire dioclezianea Loukìa conosce una notevole fortuna nei primi secoli del Cristianesimo, tanto da varcare i confini dell’Isola e da estendersi nel Mediterraneo occidentale e orientale; molto si deve, in questo senso, all’opera pastorale dei pontefici, sin dalla fine del secolo IV.
Anche Palermo partecipò della promozione del culto della martire, come attesta la fondazione gregoriana di un cenobio latino dedicato ai santi Agata e Massimo in Lucuscanum; è ben nota, infatti, la connessione tra le due sante Lucia e Agata, testimoniata non solo dai ben noti luoghi dei testi agiografici, ma anche dalle innovazioni nella liturgia introdotte dal papa Gregorio I. Dopo i secoli del dominio arabo, la figura di Lucia compare nel ciclo dei mosaici della Cappella Palatina di Palermo (1130-1143), e al regno di Guglielmo il Buono risale la più antica menzione di una chiesa extramuranea di S. Lucia che, come già dimostrato dal Mongitore, coincide con quella ricostruita nel 1600 dal vicerè Maqueda nell’omonima borgata marinara di S. Lucia al Borgo (oggi nota come “Borgo Vecchio”) che, fino ai devastanti bombardamenti del secondo conflitto mondiale, costituì un elemento peculiare del paesaggio urbano del Borgo.
La continuità del culto è attestata per tutto il tardo medioevo e gli inizi dell’età moderna dagli atti notarili relativi alle donazioni. Dalla devozione a Lucia non è esente, a partire dal tardo Medioevo, il fenomeno confraternale; sono ancora i donativi testamentari che certificano il ruolo di primo piano svolto dall’Ospedale di Santa Lucia del Cassaro.
Nella cattedrale normanna, consacrata nel 1185, prima dei rifacimenti del 1781-1801 una cappella era interamente dedicata alla Santa, e un posto di rilievo occupava il simulacro marmoreo di Lucia nella monumentale tribuna gaginiana (1510-1574) che rivestiva l’area absidale.In Early Christian Sicily, the cult of the martyr Lucia has a remarkable fortune, so much so as to cross the borders of the island and to extend in the western and eastern Mediterranean; much is due to the pastoral work of the Popes, since the end of the fourth century.
Palermo also participated in the promotion of the cult of the martyr, as attested by the Gregorian foundation of a Latin monastery dedicated to the saints Agatha and Maximus in Lucuscanum; indeed, the connection between the two saints Lucia and Agata is well known, not only by the well-known hagiographic texts, but also by the innovations introduced in the liturgy by Pope Gregory I. After the centuries of the Muslim rule, the icon of Lucia appears among the mosaics in the Palatine Chapel of Palermo (1130-1143), and to the reign of Guglielmo il Buono dates back the most ancient mention of a church of S. Lucia which, as it is shown by the Mongitore, into the village of "Borgo Vecchio" in Palermo.
The continuity of the cult is attested throughout the late Middle Ages and the beginnings of the Modern Age by notarial documents relating to donations.
In the Norman cathedral of Palermo, consecrated in 1185, before the renovations of 1781-1801 a chapel was entirely dedicated to Lucia, and a prominent place had her marble simulacrum in the monumental Gaginian tribune (1510-1574) that covered the apse area
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