1,720,957 research outputs found
Lepuri near Benkovac: From Early Christian to Pre-Romanesque Sculpture
Get PDFKnjiga Lepuri kod Benkovca autora Ivana Josipovića obrađuje jedan od najvećih predromaničkih lokaliteta otkrivenih u Dalmaciji nakon završetka Drugog svjetskog rata. Detaljnom stilsko-morfološkom analizom i uspostavom analogija s do sada identificiranim klesarskim radionicama 9. stoljeća, obrađen je i katalogiziran znatan broj starokršćanskih i predromaničkih ulomaka arhitektonske dekoracije i liturgijskih instalacija. Ovako opširna obrada ulomaka pronađenih kod crkve Sv. Martina u Lepurima donosi nove spoznaje o hrvatskoj predromaničkoj skulpturi, radu klesarskih radionica tijekom 9. stoljeća, ali i o povijesno-društvenom kontekstu i događanjima na tom prostoru od prapovijesti do danas.The book Lepuri near Benkovac by Ivan Josipović focuses on one of the largest pre-Romanesque sites discovered in Dalmatia after World War II. The author has carried out a stylistic-morphological analysis and established analogies with previously identified stonemasonry workshops of the 9th century, documenting and cataloguing a significant number of early Christian and pre-Romanesque fragments of architectural decoration and liturgical installation. Such an extensive body of documented fragments found near the church of St Martin in Lepuri brings new knowledge about Croatian pre-Romanesque sculpture, the activity of 9th-century stonemasonry workshops, as well as their historical and social context and the events that occurred in that area from prehistory to the present day
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
Master of the Koljane pluteus
Get PDFPredromanička klesarska produkcija nazvana Majstor koljanskog pluteja djelovala je u kratkom periodu početkom 9. stoljeća, a ulomci danas njoj pripisani po prvi su puta istraživani početkom 19. stoljeća. Kako god, trebalo je proći dosta vremena da bi veći dio njezinih klesarija bio povezan s istim klesarskim dlijetom, a to se dogodilo tek 1980. godine kada je tu produkciju identificirao i imenovao Nikola Jakšić te joj je ime dao po najljepšem i najočuvanijem pluteju, pronađenom na lokalitetu Crkvina u Koljanima kod Vrlike. Ruka Majstora koljanskog pluteja prepoznatljiva je po izraženom horror vacuiu, razigranosti kompozicije te po motivima koji se uvijek iznova ponavljaju, kao što su golubice, cvjetovi i učvorene kružnice. Do danas je rad Majstora koljanskog pluteja zabilježen na nekoliko lokaliteta na području ranosrednjovjekovne hrvatske kneževine – Crkvina u Koljanima kod Vrlike, Crkvina u Biskupiji kod Knina, Crkvina u Galovcu kod Zadra, Rižinice u Rupotinama kod Solina i Stombrate u Bijaćima kod Trogira. Također, ulomak koji se danas čuva u Arheološkom muzeju u Splitu smatra se djelom Majstora koljanskog pluteja, ali i ulomci pronađeni u Bolu na Braču i u Kalima na otoku Ugljanu, koji su vjerojatno u nekom trenutku tamo bili preneseni budući da dosad nije utvrđeno djelovanje te klesarske produkcije izvan teritorija ranosrednjovjekovne hrvatske kneževine. Uzimajući u obzir činjenicu da je većina lokaliteta na kojima je zabilježen rad Majstora koljanskog pluteja imala velik značaj u Kneževini Hrvatskoj 9. stoljeća, možda mu je moguće nadjenuti i ime „vladarskog klesara“.Pre-romanesque stone-cutting production called Master of the Koljane pluteus was shortly active at the beginning of the 9th century. The fragments which today are attributed to to this stone-cutting production were investigated for the first time at the beginning of the 19th century. However, it took a long time to connect all the fragments to one author, what happened in 1980, when this stone-cutting production was identified and named by Nikola Jakišić. He named it after the most beautiful and preserved pluteus which was found in the locality of Crkvina in Koljane. This Master can be identified by its characteristic style of conspicuous horror vacui, composition playfulness and rhythmical motives like doves, flowers and circles. Up until today, the work of Master of the Koljane pluteus was recorded on several localities on the territory of the Duchy of Croatia - Crkvina in Koljane, Crkvina in Biskupija near Knin, Galovac near Zadar, Rižinice in Rupotine near Solin and Stombrate in Bijaći. Also, a fragment kept in Archeological museum in Split today, is considered to be a work by this stone-cutting production. Fragments found in Bol on island Brač and in Kali on island Ugljan are also attributed to Master of Koljane pluteus, but it is considered that these fragments were transferred there since there are no records of work of Master of the Koljane pluteus outside of the territory of the early medieval Duchy of Croatia. Considering that most of the localities where this stone-cutting production’s work was recorded were one of the most important ones for the Duchy, this workshop can even be seen as a “duke’s stonecutter”
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
El poder de l'església : l'arquitectura del segle XI a Croàcia
Get PDFQuan els francs van establir el seu poder al territori històric croat va començar el procés accelerat de cristianització, un dels elements principals de l'extensió de l'Imperi Carolingi. Un cop cristianitzat el poble croat, van obtenir l'entrada a la comunitat cristiana europea, que va significar un desenvolupament polític, cultural, social i, clarament, artístic. Al segle xi la majoria del continent europeu ja compartia la mateixa religió, ja no hi havia intrusions, l'economia estava millorant, el nombre d'habitants i els centres urbans estaven creixent. A més a més, es construïen moltes esglésies a totes les regions d'Europa que compartien característiques en comú, que avui dia són elements de l'estil que anomenem romànic. De totes maneres, el segle xi també va suposar canvis significatius en quant a l'Església: la Reforma gregoriana, el Cisma d'Est-Oest, la Primera Croada i els pelegrinatges. Com que cada esdeveniment social influencia l'art de l'època, la Reforma gregoriana i el Cisma d'Est-Oest van tenir un impacte evident al territori històric de Croàcia. Amb l'arribada dels monjos reformadors camaldulesos a Croàcia va arribar l'estil romànic i es van començar a construir esglésies de grans dimensions, de tres naus. Per altre costat, hi havia un altre grup d'esglésies de l'estil regional que, tot i haver seguit els elements tradicionals de l'arquitectura preromànica croata, es va veure influenciat pels motius propis del primer romànic, com per exemple els arcs secs, les lesenes, etc. Al final, després de la divisió de les dues esglésies, el territori croat es va trobar exactament entre els interessos dels dos poders eclesiàstics. En algunes esglésies del segle xi es veuen influències occidentals i orientals que en aquest territori havien estat convivint durant segles
The role of Romanesque art in the formation of Catalan national identity on the example of Vall de Boí
No full textKatalonija je autonomna regija u Španjolskoj koja već stoljećima ima naklonost prema osamostaljenju. Na tom području obitavali su brojni narodi: Rimljani, Vizigoti, Mauri, Franci. Nakon prekida veza s Francima, samostalne katalonske grofovije su jačale, međutim ubrzo je došlo do ujedinjenja s krunom Aragona, a nešto kasnije i s Kastiljom, kada su više-manje stvorene granice današnje Španjolske. Katalonski je narod već od tzv. Rata žetelaca u 17. stoljeću težio odcjepljenju, a u 19. stoljeću ta se želja počela još više isticati, pa je započela renesansa katalonske kulture i potraga za vlastitim nacionalnim identitetom.
U tom je kontekstu romanička umjetnost imala vrlo važnu ulogu s obzirom da je Katalonija jedna od najbogatijih regija u svijetu što se tiče romaničkih spomenika. Danas je sačuvano preko 2 500 romaničkih crkvi te brojni fragmenti freski, antependija i skulpture. Unutar tog ogromnoga umjetničkog bogatstva, ovaj se rad uže bavi s Vall de Boíom, malom dolinom bogatom kulturnom baštinom. Donosi se pregled crkvi, slikarstva i skulpture u toj dolini, a obrađuju se i prvi posjeti tom području koju su ipak prvenstveno bili koncentrirani na prirodna bogatstva. Gradnja željeznice u 19. stoljeću u ovu je, prije praktički nedostupnu dolinu dovela veći broj posjetitelja koji su se počeli zanimati i za umjetničku baštinu Vall de Boía, ali tek početkom 20. stoljeća dolazi do potpunog otkrića katalonske romanike, zahvaljujući arheološko-pravnoj misiji koju je organizirao Institut za katalonske studije s ciljem izrade inventara svih kulturnih dobara te gradnje katalonske države i nacionalnog identiteta. Cilj je uspješno ostvaren, međutim zanimanje kolekcionara dovelo je u opasnost taj novootkriveni simbol katalonske nacije, zbog čega je uslijedio dugotrajan proces skidanja freski iz crkvi te njihovo prenošenje u Barcelonu, u današnji Nacionalni muzej katalonske umjetnosti (katalonski: Museu Nacional d'Art de Catalunya; skraćeno: MNAC). Na kraju, ovaj rad ima za cilj odgovoriti na pitanje zašto u Kataloniji postoji tako velika emocionalna naklonost baš romaničkoj umjetnosti koja u usporedbi s kasnijim stilskim razdobljima ipak nije donijela toliko značajne stilske inovacije.Catalonia is an autonomous region in Spain, which has had a penchant for independence for centuries. Many different nations lived in its territory: Romans, Visigoths, Moors, Franks. After the end of relations with Franks, the independent Catalan counties were becoming stronger, but soon they became unified with the Crown of Aragon and later with Castile, when the borders of today’s Spain were more or less established. Since the Reapers’ war in the 17th century, the Catalan people have aspired to the separation, and in the 19th century that desire became even stronger, so the renaissance of Catalan culture and pursuit of national identity started. In that context, Catalan Romanesque art had a very important role, since Catalonia is one of the richest regions in the world when we talk about Romanesque monuments. Today there are 2500 churches, numerous fragments of frescoes, antependiums, and sculptures saved. Among that huge artistic wealth, this paper deals with Vall de Boí, a small valley rich in cultural heritage. This paper puts forward reviews of churches, paintings, and sculptures in the valley, and it also deals with first visits to that territory, which in the first place were concentrated on natural wealth. The railway construction in the 19th century is the reason why, in this previously practically unapproachable valley, more visitors interested in the artistic heritage of Vall de Boí came, but it was just at the beginning of the 20th century when Catalan Romanesque art was fully discovered, thanks to the archeological-juridical mission, organized by the Institute for Catalan Studies, whose aim was to create a complete cultural heritage inventory and to create a Catalan country and national identity. The aim was successfully achieved, but the collectors’ interest put this newly discovered symbol of the Catalan nation in danger, and that is why the long-lasting process of removing frescoes from the churches and transferring them to Barcelona to today’s National Art Museum of Catalonia (Catalan: Museu Nacional d’Art de Catalunya; abbreviated: MNAC) started. Finally, the aim of this paper is to answer the question of why Catalonia has a big emotional preference for the Romanesque art, although, in comparison with later stylistic periods, it did not bring some important innovations
Iconografia bíblica a la pintura mural romànica de la Vall de Boí: el cel dins de l’església
No full textL‘article present tracta de la iconografia bíblica a les pintures murals romàniques conservades de tres
esglésies de la Vall de Boí: Sant Climent de Taüll, Santa Maria de Taüll i Sant Joan de Boí, que a principis del
segle XX van ser traslladades al Museu Nacional d‘Art de Catalunya a Barcelona. S‘analitzen les pintures
murals d‘aquestes tres esglésies, que eren l‘única manera de transmetre els missatges i les lliçons bíbliques als
fidels illetrats de l‘edat mitjana.The present article is about biblical iconography on the Romanesque mural paintings conserved from three churches in Vall de Boí: Sant Climent of Taüll, Santa Maria of Taüll, and Sant Joan of Boí, which at the beginning of the 20th century were moved to the National Museum of Catalan Art in Barcelona. This article analyses the mural paintings of these tree churches, as they were the only way to transmit biblical messages and lessons to illiterate medieval believers
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
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