1,720,976 research outputs found
Tra idolatria e iconoclastia: il pittoresco indiano di Thomas e William Daniell e di Lady Morgan
No full textIl saggio analizza il codice del pittoresco indiano come fenomeno multidisciplinare attraverso cui la rappresentazione iconografica dell'India si intreccia e si ibrida con quella narrativa
Je suis l’autre. Giacometti, Picasso e gli altri. Il Primitivismo nella scultura del Novecento
No full textIl volume è stato pubblicato in occasione dell'esposizione temporanea omonima che ha avuto luogo a Roma, nelle Grandi Aule delle Terme di Diocleziano e a Lugano, al Museo delle Culture.
A partire dal 1860, e poi ininterrottamente per oltre un secolo, l’irruzione sulla scena mondiale delle culture non-occidentali, produsse, nel campo delle arti, una vera rivoluzione: si estese l’universo delle fonti per gli artisti ed emerse e crebbe il desiderio di oltrepassare visioni e schemi che il realismo europeo aveva ereditato da quattro secoli di riflessione estetica. A cavallo fra Otto e Novecento, l’«incontro fatale» si trasformò in un duraturo innamoramento che, nonostante l’egemonia del modello sancito dall’estetica occidentale, lungi dal creare una frattura creativa, generò una feconda apertura culturale e la prima vera convergenza del mondo nell’arte.
La grammatica degli artisti, sollecitata dalla pluralità delle nuove fonti, si poté adattare a un’infinità di linguaggi. Determinanti furono le arti orientali e le arti etniche e popolari, assieme alle espressioni di altre creatività, considerate «arcaiche» e «primitive» che configurarono, nel loro complesso, un vasto «armamentario primitivista» che finì col comprendere anche le pitture rupestri dei cacciatori paleolitici, le statuette cicladiche, le sculture medievali, le icone e - non ultime - l’arte infantile e quella che col tempo prenderà il nome di art brut.
L’Oriente contribuì al rinnovamento dei linguaggi con una critica radicale alla prospettiva e con la semplificazione dell’uso dei segni e delle forme plastiche; più profondamente permise agli artisti di accedere all’idea dell’opera d’arte come oggetto di un processo di meditazione.
Interpreti coscienti e partecipi di quello che fu ben presto considerato come un diffuso tentativo di ritorno alle origini, furono almeno tre intere generazioni di artisti, che vi aderirono soprattutto in virtù di un percorso di ricerca personale. L’ispirazione tratta dall’armamentario primitivista fu per molti un motore di dialogo interiore. Oltre che una questione di «affinità», il Primitivismo fu una sorta di «rivelazione» in grado di rendere concrete intuizioni linguistiche e formali ed emozioni destinate altrimenti a rimanere inespresse.The volume was published on the occasion of the homonymous temporary exhibition held in Rome, in the Great Halls of the Baths of Diocletian and in Lugano, at the Museo delle Culture. Beginning in 1860, and then continuously for over a century, the eruption of non-Western cultures on the world scene produced a true revolution in the field of the arts: the universe of sources was extended for artists and emerged and grew desire to go beyond visions and schemes that European realism had inherited from four centuries of aesthetic reflection. At the turn of the nineteenth and twentieth centuries, the «fatal encounter» was transformed into a lasting love affair. Despite the hegemony of the model sanctioned by Western aesthetics, the creation of a creative fracture, generated a fruitful cultural opening and the first true convergence of the world in art. The grammar of the artists, prompted by the plurality of new sources, was adapted to an infinite number of languages. The Oriental arts and the ethnic and popular arts were decisive, together with the expressions of other creativity, thoughtful «archaic» and «primitive» which, as a whole, configured a vast «primitivist arsenal» which ended up also including the cave paintings of hunters Paleolithic, Cycladic statuettes, medieval sculptures, icons and - not least - children's art and that which, in time, will be called outsider art. The East contributed to the renewal of languages with a radical critique of perspective and with the simplification of the use of signs and plastic forms; more profoundly allowed the artists to access the idea of the work as the object of meditation process. Conscious and participating interpreters of what was soon considered a widespread attempt to return to the origins, were at least three entire generations of artists, who adhered to it mainly by virtue of personal research paths. The inspiration drawn from the primitivist arsenal was for many a driving force for inner dialogue. In addition to a question of «affinity», Primitivism was a sort of «revelation» capable of making concrete linguistic and formal intuitions and emotions otherwise destined to remain unexpressed
L’armamentario primitivista
No full textL'articolo propone, esplorandone le diverse valenze, il concetto di «armamentario primitivista» e cioè del complesso e interelato insieme di fonti etniche, arcaiche, orientali, popolari, infantili e psichiatriche che costituirono una delle principali cause del profondo rinnovamento dell'arte delle Avanguardie e, più in generale, di tutta l'arte occidentale fra il 1890 e il 1970.The article proposes, exploring the different meanings, the concept of «primitivist arsenal». This is the complex and interrelated set of ethnic, archaic, oriental, popular, child and psychiatric sources that constituted one of the main causes of the deep renewal of the art of Avant-gardes and, more generally, of all Western art between 1890 and 1970
Introduzione
No full textDopo aver definito la relazione fra esotismo e Primitivismo, l'articolo introduce ai caratteri generali del rapporto fra l'arte del Novecento (e in particolare la scultura) e il complesso «armamentario primitivista» che costuì una delle fonti e delle ragioni primarie del suo profondo rinnovamento.An analysis of the relationship between exoticism and Primitivism introduces to the general interaction between the twentieth century art (and in particular sculpture) and the complex «primitivist arsenal» which constituted one of the primary sources and reasons for its profound renewal
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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
Full text linkWe 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
Full text linkWe 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
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