1,721,135 research outputs found
Clothing Sacred Scriptures
Full text linkAccording to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances.
The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience.
By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art
Mittelalterrezeption im 18. und 19. Jahrhundert – Vielfalt der Erscheinungsformen und Objektkultur.
No full textEin Ornat für den Lübecker Dom. Hinrich II. Bocholt - Inszenierung im Leben und nach dem Tode
No full textDoppelte Anfänge in Genesisdarstellungen. Der Beitrag von Sapientia zur Schöpfung im Stammheim-Missale.
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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
Francesco di Valdambrino : Ein sienesischer Bildschnitzer des frühen Quattrocento
Full text linkDie Arbeit ist die erste Monographie seit 1936 über den aus Siena stammenden Bildschnitzer und Bildhauer Francesco di Valdambrino (ca. 1378–1435). Mit der Dissertation soll das Werk eines bisher weniger bekannten, aber wichtigen sienesischen Künstlers bekanntgemacht und ein Beitrag zur Erforschung der gefaßten bzw. bemalten Holzskulptur in der Toskana im frühen 15. Jahrhundert (Quattrocento) geleistet werden. Nach einem Bericht über den Stand der Forschung und der Biographie Valdambrinos untersucht der Autor zunächst den Status eines Handwerker-Künstlers im ausgehenden 14. und frühen 15. Jahrhundert, die Marktsituation, das geistig-kulturelle Umfeld, in dem Valdambrino arbeitete sowie die Frage der Originalität. Das heißt, es wird gefragt, ob und inwieweit die Auftraggeber von einem Künstler in Siena zu Beginn des Quattrocento überhaupt eine eigene Handschrift bzw. einen individuellen "Stil" und "Originalität" sowie innovative Lösungen einer Aufgabe erwarteten und ob der Künstler selbst einen derartigen Anspruch hatte. Nur sechs Holzskulpturen (drei Büsten der Stadtheiligen Sienas, eine Madonna mit Kind, ein Hl. Nikolaus und ein Hl. Petrus) sind durch Signatur oder Dokumente als Werke Valdambrinos gesichert. Im Laufe der Zeit wurden ihm aber etwa 45 andere Figuren von Madonnen, Heiligen und Kruzifixen zugeschrieben. Deshalb beschreibt der Autor zunächst typische Merkmale der gesicherten Skulpturen (z. B. die geringe Bewegtheit und Sichtbarkeit der Körperformen und die fließenden Konturen mit schmalen schräg abfallenden Schultern). Danach versucht er, nach ähnlichen Kennzeichen bei den nur zugeschriebenen Holzfiguren zu suchen, um zu prüfen, ob die Attributionen plausibel sind. Dabei stellte sich heraus, daß es kaum Merkmale gibt, die nur bei den gesicherten Skulpturen Valdambrinos festzustellen sind, nicht aber bei Figuren anderer zeitgenössischer Bildhauer. Man kann allerdings den Gesamteindruck, den die verschiedenen Merkmale der gesicherten Skulpturen Francescos erwecken, mit demjenigen vergleichen, den Figuren seiner zeitgenössischen Kollegen hervorrufen. Heranzuziehen waren dabei insbesondere Werke Jacopo della Quercias, Domenico di Niccolòs, Giovanni di Turinos sowie Guido di Giovannis. Dabei stellte sich heraus, daß sich insbesondere die Skulpturen Quercias sowie Niccolòs sehr deutlich von den Arbeiten Valdambrinos unterscheiden, nicht aber die gesicherten oder zugeschriebenen Werke Giovanni di Turinos und Guido di Giovannis. Überblickt man nun die wenigen gesicherten Skulpturen Francescos sowie die ihm überzeugend zugeschriebenen Werke, so fällt auf, daß der Künstler sich nicht um neuartige oder eigenwillige Lösungen der jeweiligen Aufgabe bemühte, sondern sich an traditionelle Formen gehalten hat. Sichere Zuschreibungen von Werken an Valdambrino aufgrund von Stilkritik bleiben somit problematisch, da der Künstler konventionell arbeitete und nicht nach Originalität strebte.This work is the first monograph to appear about the wood-carver and sculptor Francesco di Valdambrino (ca. 1378-1435) since 1936. The dissertation aims to make the oeuvre of this so far little-known but important Sienese artist better known. It also seeks to contribute to research into the decorated or painted wooden sculpture of Tuscany in the early-15th century (Quattrocento). After a report about the research since then and a biography of Valdambrino, the author begins by considering the status of a craftsman-artist in the late-14th and early-15th century, the market situation, the intellectual and cultural context in which Valdambrino worked and also the issue of originality. In other words, the question is raised as to whether and to what extent those commissioning work from an artist in Siena at the beginning of the Quattrocento would have expected him to have a distinctive manner of expression or individual “style” and “originality”. Would they have expected him to come forward with innovative solutions for a task required of him and would the artist himself have felt such a need? Only six wooden sculptures (three busts of Siena’s patron saints, a Madonna and Child, a St. Nicholas and a St. Peter) have been authenticated as works of Valdambrino’s with reference to a signature or documents. Over time, however, approximately 45 other figures of Madonnas, saints and crucifixes have been attributed to him. In view of this, the author starts out by describing typical features of the authenticated sculptures (e.g. the slight degree of movement and visibility of physical forms and the flowing outlines with narrow sloping shoulders). After that he attempts to search for similar features in the wooden figures merely attributed to Valdambrino, in order to examine whether the attributions are plausible. In the course of that examination it became clear that there are hardly any features, which are only to be found in the authenticated sculptures by Valdambrino and not in figures by other contemporary sculptors. It is, however, possible to compare the general impression made by the various features of the authenticated sculptures by Valdambrino with that stemming from figures created by his contemporary fellow sculptors. In this discussion attention is drawn in particular to works by Jacopo della Quercia, Domenico di Niccolò, Giovanni di Turino as well as Guido di Giovanni. In the process it emerged that sculptures by Quercia and Niccolò, in particular, definitely differ from Valdambrino’s works, while authenticated works by Giovanni di Turino and Guido di Giovanni, or those attributed to them, do not. When we survey the small number of authenticated sculptures by Francesco di Valdambrino and also the works, which have been convincingly attributed to him, it becomes evident that the artist did not seek innovative or unconventional solutions for the tasks confronting him, but followed traditional forms. This makes it difficult confidently to attribute works to Valdambrino by examining his style, since the artist used a conventional approach in his work rather than striving for originality
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
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