1,728,868 research outputs found
Wanda e Marion Wulz. Fotografe e sorelle Wanda and Marion Wulz. Photographers and Sisters
No full textNel 1981 Wanda Wulz (1903-1984) e la sorella Maria detta Marion (1905-1993) chiusero i battenti del Grande Atelier Wulz, lo studio fotografico che avevano ereditato dal padre Carlo (1874-1928) subentrato a sua volta al nonno Giuseppe (1843-1918). Dal 1928 le sorelle Wulz avevano abbandonato le loro passioni, la musica per Wanda e la pittura per Marion, per accettare il proseguimento di un destino famigliare legato a un’attività professionale che divenne la fonte del loro sostentamento economico.
Wanda e Marion furono dunque le ultime discendenti della famiglia Wulz a dedicarsi alla fotografia, ponendo fine una storia che si era aperta negli anni Sessanta dell’Ottocento quando, dopo un apprendistato presso il famoso fotografo Guglielmo Federico Engel, Giuseppe si era reso autonomo avviando lo studio fotografico che nel 1891 trovò la sua sede definitiva a Palazzo Hirschl, in Corso Italia 9 a Trieste. Il patrimonio di stampe, negativi, documenti e materiali vari riconducibili alle attività private e professionali di questa famiglia di fotografi italiani è conservato oggi presso la Fondazione Alinari per la Fotografia, dove è giunto in successive fasi di acquisti e donazion
Fotografia Wulz. Trieste, la famiglia. l'atelier
No full textUn percorso fotografico lungo oltre cent’anni, scandito sia dagli eventi che hanno collocato la città di Trieste al centro dello scenario internazionale, sia dalle tappe del suo sviluppo economico, demografico, sociale e culturale. Una lunga storia vista attraverso il filtro privilegiato della famiglia Wulz, che per più di un secolo gestì l’omonimo atelier fotografico triestino
Pädagogische Qualität in Kindertagesstätten für ein- bis dreijährige Kinder : ein Entwurf von Qualitätsmerkmalen für Kärntner Kindertagesstätten
No full textWulz BrigitteKlagenfurt, Alpen-Adria-Univ., Dipl.-Arb., 201
Pädagogische Qualität in Kindertagesstätten für ein- bis dreijährige Kinder : ein Entwurf von Qualitätsmerkmalen für Kärntner Kindertagesstätten
No full textWulz BrigitteKlagenfurt, Alpen-Adria-Univ., Dipl.-Arb., 201
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe 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
Wanda e Marion Wulz agli archivi Alinari di Firenze. Prospettive per una lettura transdisciplinare.
No full textIl presente saggio, anche in relazione alle attività
di un progetto di ricerca nazionale sulla valorizzazione
delle donne fotografe italiane,5 e alla curatela di
un evento espositivo prossimo, si propone di rileggere
in particolare la pratica artistica riconducibile alle
due sorelle Wanda e Marion Wulz. A partire dallo
studio del fondo archivistico presso gli Archivi Alinari e alla luce della prospettiva transdisciplinare offerte
dai gender studies, l’intento è quello di focalizzare
l’attenzione sulla loro capacità di sfruttare il mezzo
fotografico per definire un’esperienza di costruzione
identitaria e di certificazione visiva di una prospettiva
di emancipazione femministaWanda and Marion Wulz at the Alinari Archive in
Florence. Perspective for a transdisciplinary analysis · The recent
possibility to access the entire photographic and documentary
heritage of the Wulz family at the Alinari Archives in
Florence, which has now become a Foundation of the
Region of Tuscany, makes it possible to undertake an
in-depth study of this season of Italian photography and, as
far as the two sisters Marion and Wanda are concerned, to
have an open look at the role of photography that they developed
together both as a tool of social and identity emancipation
and as a means of performative and conceptual
experimentation. Starting, therefore, from a historical and
philological study of the archive materials and the photographic
production of Wanda and Marion Wulz, we intend
to provide an up-to-date interpretation of their artistic praxis
capable of concretely visualising the changes in women’s
identity in the first decades of the 20th century, thanks to the
theoretical and methodological contributions offered by
Gender and Visual Studies, and to a perspective of reading
photographic images from a feminist point of vie
Wanda Wulz: a photo diary. Self-portraits, disguises, performance
No full textChild and granddaughter of a centennial dynasty of photographers from Trieste, Wanda Wulz was just 25 years old when she started to lead her family photo studio introducing a long portrait career, along with a short and important avant-gardist period. On closer inspection, what that made her «the only Italian female futuristic photographer» thanks to her well-known worldwide Io + gatto, was clearly the result of a personal, dynamic, and experimental artistic career. Among the 30s work there is a more intimate and private photography, aimed to expose and legitimate an emancipate female identity, in line with the modern, rising, new woman. This paper seeks to bring out a “personal archive” of images from Fondo Wulz (Alinari Foundation) useful to convey the conceptual strength of the photography as well as a new female identity. The aim is to find out interesting female self-portraits – from being object of several portraits made by her father to subject of representation –, of disguise and mini-performance
Variations on the Author
No full text“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
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