Print Culture

This writing is an extension of a recently published work. It seeks to frame the investigative reflection of the artistic praxis of a personal process that becomes a method and a practice of poetic and material research. I am interested in presenting in this work, the theoretical crossover between the graphic practice that I have called florisgraphy as an original graphic procedure of my own authorship and its relationship with the field of bioart. The florigraphic procedure is presented as an emerging contemporary practice within the field of artistic praxis, in relation to the use of organic supports and its intimate relationship with bioart. This work does not intend to make a tight definition of the notion of florigraphy, but to present it as a contextual and contingent artistic practice.

execution -remained unique at the time, only to be paralleled to some extent by the frescoes found in Thessaloniki, its surroundings, and the Bulgarian capital of Turnovo. 10 The role, however, of Archbishop Sava in the history of Serbian art in the first decades of the 13 th century was

laboratorio permanente "letteratura, arte, storia nel rinascimento italiano" università degli studi di padova-université de lausanne Arte, letteratura, storia nel Rinascimento Geografia, oggetti e forme di espressione Université de lausanne 27-29 ottobre 2025 Lunedì 27 ottobre, pomeriggio, salle ANT 4173 -14.30 Saluti e introduzione Oggetti, lusso, magnificentia

This is a study of a written polemical exchange between a Tibetan Buddhist writer, quite possibly an associate of the 7th Dalai Lama, and the Prefect of the Capuchin mission in Tibet, Fr. Orazio Della Penna. The Tibetan writing (scrittura), dating from the early 1720s, briefly refutes earlier Capuchin critiques of rebirth, yab-yum imagery, and other aspects of Tibetan Buddhism, presents basic Buddhist doctrine, and uses the problem of suffering to indict the Christian creator God as a cruel deity.. Della Penna's reply was likely written in the 1730s for the Cardinals of the Propaganda Fide and rejects Buddhist claims on scriptural and dogmatic grounds. We discuss textual issues, the arguments presented, and provide texts and translations of the principal documents. Comments and suggestions are welcome for this final draft prior to submission for publication.

Classical accounts of diplomatic history would define the duties of a Renaissance diplomat as either acquiring information or winning allies. For the latter case, the diplomatic milieu of early modern Istanbul offers a propitious ground with a number of resident embassies established in the city in addition to a series of ad hoc envoys visiting the Ottoman capital. The present case study will highlight how an extraordinary Polish envoy made use of propaganda among the members of the corps diplomatique in Istanbul to make allies against the Swedish Kingdom amidst the chaos of the Northern War (1655-1660). It will start with an account of how Mustafa Aga, an Ottoman envoy sent to the Polish King John Casimir Vasa (r. 1648-1667), was captured and detained by the Swedish forces invading Polish-Lithuanian territory in 1655. Then, it will showcase that the next year, the Polish-Lithuanian Commonwealth sent Wojciech Bieniewski to Istanbul in order to ask for Ottoman support against the Swedes. To that aim, Bieniewski repeatedly underlined the unlawful arrest of Mustafa Aga with the aim of discrediting the Swedish Kingdom. By referring to both unedited (letters brought to Istanbul by Bieniewski) and published primary sources (Dutch and Austrian embassy reports), the preset study will show how Bieniewski utilised Mustafa Aga’s detainment as a propaganda tool to win not only the Ottoman decision makers, but also the other European representatives in the Ottoman capital over to the Polish cause.

Comentario por Pepo Toledo

El arte como espejo del espíritu: una obra de madurez y trascendencia
    A sus 85 años, Mario Permuth hace selah en su vida y nos entrega Relatos del alma. Una obra profundamente introspectiva que condensa décadas de pensamiento, creación y observación en un ejercicio artístico que trasciende lo meramente visual. Inicia el periplo evocando a su amada esposa Bertha, el cisne que lleva el Libro de la vida bajo el ala. Es una pieza que, más que mirar hacia atrás, se proyecta hacia adentro y hacia adelante. Un testimonio sensible de transformación espiritual que solo puede brotar desde la madurez del alma.
    Permuth, abogado y notario, ciudadano notable, reconciliador de Guatemala y artista visual, ha tejido durante más de cuatro décadas un diálogo entre derecho, paz, conciencia social y expresión artística. En esta obra, sin embargo, se adentra en un nuevo lenguaje: el del alma como protagonista, la poesía como brújula, la imagen como ritual, y la tecnología como aliada. El autor no solo se representa, se reinterpreta. Cada autorretrato es una máscara que revela en vez de esconder.
Fusión de lenguajes y tecnologías
    El recurso híbrido que combina la fotografía propia, el retoque digital y la inteligencia artificial no es aquí una concesión a la modernidad, sino una herramienta coherente con la temática: el alma que muta, que se expande, que trasciende. El rostro humano —el del artista— es el mapa donde la memoria, el tiempo y la luz encuentran un cauce estético. Lejos de lo anecdótico, los retratos no son autorreferenciales: son arquetipos del espíritu humano en su viaje evolutivo.
    La inteligencia artificial, en este caso, no reemplaza la visión del artista: la potencia. Le ofrece nuevas formas de encarnar lo intangible. Estamos ante una metáfora visual expandida, donde lo invisible se vuelve perceptible.
Estructura y simbolismo
    La estructura del libro como travesía es precisa. Cada capítulo es un umbral a un estado de conciencia. Desde Renacimiento Interior, donde la luz brota del pecho en un gesto de reencarnación simbólica, hasta el último, El Alma del Retrato, donde el cuerpo se diluye en pura presencia luminosa, la narrativa construye un itinerario espiritual.
    Los títulos no solo ilustran: El Poeta del Cosmos, El Ser Futuro, El Guardián de la Memoria Universal… son manifestaciones de un yo que es también todos. De una identidad que se reconoce fragmentada, pero que busca la unidad a través de la contemplación.
    Los textos poéticos que acompañan cada imagen no son meros complementos; son umbrales interpretativos. La poesía en Relatos del alma evoca, no explica. Tiene la delicadeza de quien ha aprendido que el alma no se grita, se susurra.
El arte como umbral
    Permuth logra, con delicadeza y profundidad, traspasar los límites del retrato como género. Aquí el retrato no es físico, sino ontológico. No busca capturar una imagen externa, sino revelar una presencia esencial. En un tiempo donde el arte muchas veces se pierde en el ruido de la superficialidad o el espectáculo, Relatos del alma ofrece silencio, luz y reflexión.
    Este proyecto no es un cierre, sino una apertura. No es una memoria, sino una metanoia. Una invitación a vernos en el espejo de lo eterno, a reconocer en cada arruga un universo, en cada sombra un destello.
Conclusión
    Relatos del alma es una obra profundamente humana, que encuentra en la confluencia de poesía, arte digital y fotografía un nuevo lenguaje para lo sagrado. Es un testamento visual y espiritual, donde Mario Permuth se desnuda sin dramatismo, y nos entrega no un mensaje, sino un espacio: para detenernos, contemplar y recordar lo que nunca hemos dejado de ser.

It has been long acknowledged that the functional differentiation between storage and interface, proposed by John von Neumann, is the essential condition for the self-reproduction of living beings: enabling evolution, the fundamental separation of memory from interaction increases the chances of open systems to withstand the all-devouring entropic pressure of the surrounding universe. However, the interest in the distinction has been very unevenly spread between natural and social sciences: extensively and fruitfully discussed in structural linguistics, code biology and semiotics, the dialectics of storage and interface in culture has so far evaded serious scrutiny. This preliminary study is an attempt to fill the gap.

Identifying the suitable primary sources for researching a historical topic is always crucial. The historian can try to use a new methodology in order to use previously discovered sources or to use new ones. The lists of works of teaching staff is a new source that can be used for researching different topics for the history of higher education. In order to exemplify their use, two such lists were employed, from 1988 and 1997, of the teaching staff from the Faculty of Mathematics of the University of Bucharest. Data sets were collected from these lists and then they were analyzed in corresponding sections (number and type of papers published, authors and coauthors and biographical information, foreign languages used for publication and other data). All these information can be used to write improved histories of higher education and although they may seem as a simple receptacle of data, if carrefuly interogated they can reveal us information that otherwise we can hardly collect it and only from multiple sources (and in case they still exist there).

This monograph explores Peter Paul Rubens' presence in Silesia. It traces the path of his art from Antwerp to Wrocław, Poland, examining how his works were reproduced, collected, and reinterpreted by Silesian patrons and artists such as Michael Willmann. Through analysis of prints, modelli, letters, and lawsuits, this study shows how Rubens' art became a cornerstone of Central European Baroque identity and how his reputation endured through centuries of war, loss, and rediscovery. Keywords This monograph explores the transmission, reception, and reinterpretation of Peter Paul Rubens' art in Silesia, tracing its journey from Antwerp to Central Europe from the early seventeenth century through the twentieth century. It examines the crucial role of Rubens' Graphic School in disseminating faithful reproductions of his works through modelli, proofs, and carefully supervised engravings, highlighting the 1611 Emmaus engraving as a turning point in the artist's realisation of the power of print.

This article attempts to examine the life and teachings of Yi Sajudang 李師朱堂 (1739-1821), a unique Confucian practical thinker from the Chosŏn dynasty in Korea. Yi Sajudang attached great importance to the situation in which a moral agent found himself, often surpassing in importance that agent's own will. This is reflected in her own life choices and educational theories. Yi Sajudang led a life of deliberation, seeking a place where she could participate in scholarly conversations, maintain her dignity, and be influential among male scholars. Her theory of education also recognized the crucial influence of the environment on the learner, from before birth to the guidance of a good teacher. She strove to create a safe and nurturing environment that offered protection from harm and negative influences while providing gentle support and guidance. Yi Sajudang's life and teachings serve as an example of a Confucian woman who was able to live an autonomous and independent life without succumbing to her difficult situation, which can still be an inspiration to us today.

Riassunto: I personaggi dei poemi cavallereschi sono parte di una tradizione secolare che ne ha così ben definito le caratteristiche da farli diventare caratteri fissi, portatori di valori, pregi o difetti condivisi e universali. Rinaldo è il cavaliere ribelle, guascone, ladro e sempre pronto ad alternare l'impresa militare a quella amorosa; Orlando è il miles Christi, casto e integerrimo, devoto alla causa; Astolfo è il cavaliere bello e buffone. Se però queste lunghe vite di finzione si analizzano in una prospettiva diacronica, si può osservare come, pur mantenendo una fisionomia riconoscibile, i personaggi abbiano subito dei cambiamenti, si siano evoluti e la loro semplicità sia diventata man mano complessità. Tra i personaggi più famosi della tradizione, Rinaldo è quello che meglio si adatta a questa analisi perché le sue avventure hanno assunto un ruolo fondamentale nello sviluppo dei romanzi italiani in ottava rima: dalla seconda metà del Quattrocento e per tutto il Cinquecento. Per costruire la storia del personaggio si è quindi setacciato un corpus letterario nel quale individuare quali tratti componenziali sono mantenuti, quali modificati e quali abbandonati. La selezioni di testi cavallereschi comprende i Cantari di Rinaldo da Monte Albano, il Morgante di Pulci, la Morte del Danese di Cassio da Narni, l'Antheo gigante e i Triomphi di Carlo di Francesco dei Lodovici.

Resumo: Distante de se estabelecer de modo natural, ou atemporal, a história atlântica pressupõe circunscrições precisas, social e politicamente configuradas. Nesse sentido, este dossiê temático busca contribuir para a percepção do que se define como espaço iberoatlântico, focando em um aspecto específico: a circulação da cultura escrita, declinada dos movimentos realizados por livros, periódicos, panfletos e papéis vários. O objetivo é compreender os múltiplos processos de circulação letrada no decorrer dos tempos. Buscou-se pensar os processos em longa duração, para vislumbrar as mudanças nas configurações do mundo iberoatlântico e suas persistências. Evidencia-se, assim, no dossiê, como cada espaço de criação e apropriação de textos postos em circulação é um produto concreto de inserção contingente em redes de diversa compleição e densidade, por meio das quais se materializa um fluxo de objetos manuscritos, impressos e de ideias, movimento no qual se estabelecem sistemas de ligaç...

കേരളത്തിലെ വായനയുടെ ചരിത്രവും കലാചരിത്രവും തമ്മിലുള്ള സങ്കീർണ്ണമായ
പരസ്പരബന്ധത്തെഅന്വേഷിക്കുവാനുള്ള ശ്രമമാണ്ഈപ്രബന്ധം. അച്ചടിആധുനികതഈ
രണ്ട്വ്യവഹാരങ്ങളെയും എങ്ങനെസവിശേഷമായി സ്വാധീനിച്ചുവെന്നുംഅത്സാക്ഷരതക്കും
ദൃശ്യാവബോധത്തിനുമിടയിൽഎങ്ങനെ പ്രവർത്തിച്ചുവെന്നുംഈപഠനംഅന്വേഷിക്കുന്നു.
20-ആം നൂറ്റാണ്ടിന്റെ മധ്യം മുതൽ 21-ആം നൂറ്റാണ്ടിന്റെ തുടക്കം വരെയുള്ള കാലഘട്ടത്തിൽ
ശ്രദ്ധ കേന്ദ്രീകരിച്ചുകൊണ്ട്, കേരളത്തിലെ വായനാസംസ്കാരത്തിന്റെയും
ദൃശ്യകലാചരിത്രത്തിന്റെയും സമാന്തരധാരകളെഅന്വേഷിക്കുന്നഈപഠനംഅച്ചടി മാധ്യമങ്ങൾ
- പുസ്തകങ്ങൾ, പത്രങ്ങൾ, മാസികകൾ - കേരളത്തിലെ വായനാശീലങ്ങളെയും
കലാസങ്കല്പങ്ങളെയും എങ്ങനെ സവിശേഷമായി രൂപപ്പെടുത്തി എന്നതിനെക്കുറിച്ച്വിശകലനം
ചെയ്യുന്നു.ഈപ്രക്രിയയിൽ രൂപപ്പെട്ട വായനക്കാരെയും കാഴ്ചക്കാരെയും കുറിച്ചുംഅവിടെ
രൂപപ്പെട്ട അഭിരുചികളെ കുറിച്ചും പ്രബന്ധം സവിശേഷമായി പരിശോധിക്കുന്നു.
അച്ചടിയിലൂടെയുള്ള ദൃശ്യങ്ങളുടെ യാന്ത്രിക പുനരുത്പാദനം കേരളത്തിന്റെ കലയറിവിനോട്
സവിശേഷമായി സംവദിച്ചിട്ടുണ്ടെന്നസന്ദർഭത്തിൽഅതിന്റെസാംസ്കാരികമാനങ്ങൾ
എന്തൊക്കെയാണെന്നുംഈദൃശ്യപാഠങ്ങളുടെ വായനകലാചരിത്രത്തെഎങ്ങനെ രൂപപ്പെടുത്തി
എന്നുംഅന്വേഷിക്കേണ്ടാതായി വരുന്നു. കേരളസമൂഹത്തിൽ ദൃശ്യകലയിലെ മാനകീകരണത്തിൽ (canonization)അച്ചടി വഹിച്ച പങ്കിനെക്കുറിച്ച്വിശദമായി ചർച്ച ചെയ്യുന്നഈ
ഗവേഷണപ്രബന്ധംആധുനികതയുടെ ദൃശ്യോത്പാദനപ്രക്രിയഎങ്ങനെയാണ്വായനയുടെ
ചരിത്രത്തിൽഇടപെട്ടതെന്നുംഅന്വേഷിക്കുന്നു. കലാ വിമർശനം, കലാചരിത്ര രചനകൾ,
പ്രദർശനങ്ങളെക്കുറിച്ചുള്ള റിപ്പോർട്ടുകൾഎന്നിവയിലൂടെ വായനക്കാരുടെയും കാഴ്ചക്കാരുടെയും
അഭിരുചികൾഎങ്ങനെ രൂപപ്പെട്ടു എന്നതിനെക്കുറിച്ചുംഅച്ചടിക്കപ്പെട്ട ചിത്രങ്ങൾഎങ്ങനെ
കലാചിന്തയെ രൂപപ്പെടുത്തിയെന്നുമുള്ള സാംസ്കാരികവിമർശനമാണ്ഈപഠനത്തിന്റെ
പ്രാഥമികലക്ഷ്യം.ആനുകാലികങ്ങൾ, സമാന്തരമാസികകൾ, പത്രറിപ്പോർട്ടുകൾ,
കലാപ്രദർശനവുമായി ബന്ധപ്പെട്ട കാറ്റലോഗുകൾ, തുടങ്ങിയ പ്രാഥമിക ഉറവിടങ്ങളുടെ
വിശകലനത്തിലൂടെ, കേരളത്തിലെ വായനാചരിത്രവും കലാചരിത്രവും തമ്മിലുള്ള ബന്ധത്തെ
സംസ്കാരപഠനത്തിന്റെ മാതൃകയിലൂന്നിക്കൊണ്ട് അന്തരവൈഞ്ജാനികമായി  പഠിക്കുവാൻ ഈ
പഠനം ലക്ഷ്യമിടുന്നു.

USA during the 1960s and the 1970s 1 "The indispensable Emma Gurry was in charge of the photo library -the back inventory of prints accumulated for years of assignments. She had been with Black Star from the very beginning and she knew every picture. When a client called with a request, Emma singlehandedly did the research, made the selection, generated the paperwork and packed it all up. The material would then be turned over to Fred Viertel, who would ferry it to its destination 2 ." Photographic press agencies are much studied from a news perspective, a specificity they claim and on which the history of photojournalism is built for the most part, especially from the second half of the 20 th century. Black Star, "a major photographic press agency" 3 , is one of the flagships in this prestigious American history: and was, in Matt Herron's words, "a major force during those years" 4 . The presentation of the Black Star Collection kept at the RIC 5 underlines both the diversity of the production is highlighted and the commercial aspect of the agency 6 (by assigning a special place to the Corporate 7 ). However, these agencies, which are responsive to multiple news items (news, politics, culture, etc.), i.e. are sensitive to the date of the events photographed, paradoxically adopt a classification of images by theme, including for news, reduced to keywords. The thematic management of images and/or Emma Gurry's work in the Black Star Agency's photo library still are two poles of a blind spot in the history of photojournalism: the iconographic exploitation of these collections. Most of the Werner Wolff archive held at the RIC concerns his production of for Black Star (AG02.02, 1,125 files) 8 . Partly classified into two sub-series "Commissioned for Corporations" and "Commissioned for The Press", most of his production (658 files) remains unallocated 9

USA during the 1960s and the 1970s 1 "The indispensable Emma Gurry was in charge of the photo library -the back inventory of prints accumulated for years of assignments. She had been with Black Star from the very beginning and she knew every picture. When a client called with a request, Emma singlehandedly did the research, made the selection, generated the paperwork and packed it all up. The material would then be turned over to Fred Viertel, who would ferry it to its destination 2 ." Photographic press agencies are much studied from a news perspective, a specificity they claim and on which the history of photojournalism is built for the most part, especially from the second half of the 20 th century. Black Star, "a major photographic press agency" 3 , is one of the flagships in this prestigious American history: and was, in Matt Herron's words, "a major force during those years" 4 . The presentation of the Black Star Collection kept at the RIC 5 underlines both the diversity of the production is highlighted and the commercial aspect of the agency 6 (by assigning a special place to the Corporate 7 ). However, these agencies, which are responsive to multiple news items (news, politics, culture, etc.), i.e. are sensitive to the date of the events photographed, paradoxically adopt a classification of images by theme, including for news, reduced to keywords. The thematic management of images and/or Emma Gurry's work in the Black Star Agency's photo library still are two poles of a blind spot in the history of photojournalism: the iconographic exploitation of these collections. Most of the Werner Wolff archive held at the RIC concerns his production of for Black Star (AG02.02, 1,125 files) 8 . Partly classified into two sub-series "Commissioned for Corporations" and "Commissioned for The Press", most of his production (658 files) remains unallocated 9

This report provides a comprehensive analysis of the field of printing history, using Hansjürgen Wolf's 1974 work, Geschichte der Druckpressen, as a historical benchmark. At the time of its publication, the prevailing narrative was largely Eurocentric, positioning Johannes Gutenberg as the singular inventor of the printing press and the primary catalyst for the Information Age. This report demonstrates that since 1974, the scholarly landscape has undergone a profound transformation.The modern discipline has evolved in two significant and interconnected ways. First, a global re-evaluation of printing's origins has fundamentally revised the historical narrative. New scholarship and archaeological evidence have illuminated the rich and complex traditions of pre-Gutenberg printing in East Asia, particularly in China and Korea, and have provided a more nuanced understanding of the delayed adoption of printing in the Islamic world. This shift has moved the field from a linear, Eurocentric account to a multi-regional history of technological and cultural exchange.Second, the advent of digital technologies has enabled a revolution in research methodologies. The application of tools from the digital humanities, such as 3D scanning, modeling, and printing, has moved the study of printing history beyond its traditional focus on text to an object-centric, interdisciplinary approach. These tools allow for the non-invasive documentation of fragile artifacts, the creation of educational replicas, and the engineeringbased reconstruction of historical machines. This has not only enhanced preservation efforts but has also democratized access to historical materials, fostering a more collaborative and global scholarly community.In conclusion, the history of printing has matured from a focused study of a single object to a multifaceted, global, and interdisciplinary field that leverages cutting-edge technology to uncover and interpret a rich tapestry of human innovation.Part I: The 1974 Benchmark: Contextualizing Geschichte der DruckpressenHansjürgen Wolf's Foundational Work: A Bibliographic and Contextual AnalysisThe user query centers on the work Geschichte der Druckpressen (History of the Printing Presses), a book published by Hansjürgen Wolf in 1974.1 A bibliographic review of the work indicates it was published by Interprint in Frankfurt/Main, with a total length of 336 pages.1 The book is explicitly described as an "illustrated handbook with a detailed time board" (ein ill. Handbuch mit e. ausführl. Zeittafel), suggesting its purpose was to serve as a comprehensive, visual reference guide to the subject.3 The title itself, with its focus on "printing presses" in the plural, suggests a broad scope, but its publication year places it squarely within a historiographical paradigm that was dominant at the time.A notable feature of the provided research material is the striking absence of a direct, detailed academic review or critique of Wolf's book itself. While the work is cited in other publications and on platforms like Wikipedia as a standard reference for the history of printing 6, no scholarly assessment of its content, methodology, or reception from the time of its publication is available in the collected documents. For instance, a number of sources initially presented as potential reviews of Wolf's book were found to discuss entirely different subjects and authors, such as a review of a book by Major and Savin-Baden on qualitative research synthesis 9, a discussion of the classical scholar Friedrich August Wolf 10, a medical paper on autism research 11, and a study on 19th

The article presents some reflections on the process of cataloguing South Asian manuscripts in digital form, based on the experience gathered by the author during the Cambridge Sanskrit Manuscripts Project and as a curator of South Asian manuscripts in the Bodleian Libraries. It briefly addresses the topics of the usage of markup language, the interaction between different professionals in the preparation of digital catalogues (academics, librarians, digital imaging and IT staff), and the importance of standardisation at all levels of cataloguing.

Recent art historical historiography has acknowledged the stylistic anachronisms of sacred images reproduced in devotional and narrative contexts across the early modern era: from Andrea Orcagna’s pala d’altare of the Madonna of Orsanmichele in Florence, to the bronze statue of Christ reproduced in Vittore Carpaccio’s Venetian Vision of Saint Augustine, and into reproductions of the relic Shroud of Turin. These images reproduce known objects—replacing a preexisting altarpiece, superimposing a modern creation into the past, and visually manifesting a devotional object—to increase the legibility of these respective visual representations for contemporary audiences. Commensurately, modern scholars have increasingly looked afresh at sacred reproductions in varying media as sources of information dissemination and historicizing aides. Within this burgeoning field, a number of elements remain to be explored, chief among them the purposeful recreation of alterations to the devotional original: scratches, cracks, and material losses mapped across the surfaces of sacred imagery. Whether the result of votive or violent touch, these alterations to the cult image or object become enmeshed with the narrative of the object itself, recreated in new contexts as testimonies to the object’s history and potential agency. The Polish Madonna of Częstochova and the Italian pilgrimage center of the Santa Casa at Loreto express the two sides of this phenomenon: scratches across the face of the Lucan icon stem from purported iconoclastic attacks according to local legend, as the Virgin’s supposed house and site of the Annunciation manifests the crumbling walls caused by generations of tactile adoration. This chapter explores the history of reproducing signs of degradation as hallmarks of each object’s miraculous narrative, and their export into new communities via portable media. By looking to seventeenth-century representations in print, paint, and plaster, “Violence and Votives” delves into the underappreciated exaltation of sacred images as sites of ongoing interaction and change.

This paper examines the role of the Young Women's Christian Association in promoting the social adjustment of Asian immigrant women in Honolulu, Hawaii, through a program known as the International Institute. This was the YWCA's principal contribution to the Americanization fervor that swept the United States in the early decades of the twentieth century. Unlike nativist and anti-immigrant Americanization programs that sought to dismantle ethnic differences and promote conformity to Anglo-Saxon values, International Institutes were conceived as serviceoriented agencies that celebrated ethnic differences and promoted cultural pluralism -an important distinction given Hawaii's development as a socially diverse insular community. The study identifies tensions between the middle-class, paid staff from the national YWCA and wealthier volunteer board members in Hawaii who controlled the Honolulu Institute's structure and progress as an assimilative agency. Whereas Honolulu board women viewed the International Institute as a service that promoted socioeconomic continuity, their professional colleagues from the continental U.S. viewed it as an instrument of social change.

This article critically examines some of the more recent interpretive approaches (by Walter Melion, Larry Silver, Walter Gibson, Matthijs Ilsink, Tine Meganck, Edward Wouk, Stephanie Porras) and evaluates their plausibility. The guiding criterion here is the extent to which the respective approaches are able to do justice to the visual nature of Bruegel's prints and paintings.

This paper attempts to interpret the 'Portrait of Sculptor George Grey Barnard in His Atelier' (State Museum of Pennsylvania, Harrisburg, USA), one of the most eminent American sculptors. With the help of archive materials, it was possible to reconstruct the history and reception of this work painted by Anna Bilińska in Paris in 1890 on commission from Barnard’s patron, the millionaire Alfred Corning Clark. The circumstances of the work’s creation served as a starting point for an analysis of the sculptor’s relationship with his patron and the ways in which the artist’s life and work are mythologized in relation to American values: nature, innocence, virility and strength. The model of Barnard’s canonical work, 'The Struggle of the Two Natures in Man' (1894, Metropolitan Museum of Art, New York), played an important role in the development of American sculpture. Bilińska created an image that glorified her sitter’s beauty and physical strength. By comparing her model to Michelangelo, she placed the American sculptor – a new figure at the time – in the context of art history. The painting fits in with the paragone tradition – the rivalry between painting and sculpture, between Bilińska and Barnard. The painter reversed gender relations in the creative process, transforming the man into an object of artistic and sexual desire.

Féréol Papety (1815-1849) κατέχει μια ξεχωριστή θέση στη γαλλική τέχνη του 19ου αιώνα. Μαθητής στο Παρίσι κοντά στον Léon Cogniet και βαθιά επηρεασμένος από τον Jean-Auguste-Dominique Ingres, ο Papety συνδέεται γενικά με το κίνημα Νεο-Γκρεκ, το οποίο επιδίωξε να αναβιώσει τα κλασικά ιδεώδη, ενώ παράλληλα συνομιλούσε με τον σύγχρονο ελληνικό πολιτισμό (Poulet 1975• Cogeval 1980). Αν και η καριέρα του διακόπηκε πρόωρα λόγω του θανάτου του από χολέρα το 1849, τα ταξίδια του στην Ελλάδα μεταξύ 1846 και 1847 άφησαν ένα σημαντικό corpus σχεδίων που συνδυάζουν καλλιτεχνική ευαισθησία με αρχαιολογικό και εθνογραφικό ενδιαφέρον.

ସଂ􀅁ି􀆌ସାର
ଇେକାେଫମିନିଜି􀇡 ବା ପରିେବଶ ନାରୀବାଦ , ଏକ ବହୁମୁଖୀ ରାଜେନୖତିକ ଓ େବୗ􀅶କ ଦଶ􀆽ନ ଯାହା ନାରୀବାଦ ଏବଂ ପରିେବଶ
ସମ􀈴􀆆ୀୟ ଚି􀅽ାଧାରାକୁ ଏକ􀇿 କେର ।ଲି􀅏, ପରିେବଶ ଏବଂ ସାମାଜିକ ନ􀈻ାୟ ମ􀅼େର ଜଟିଳ ସ􀆓କର􀆽 ଅନୁସ􀆆ାନ କେର | ଏହ ି ତ􀅭
ସାମାଜକି ଢା􀅙ା ଓ ସଂରଚନାକୁ ସମାେଲାଚନା କେର ଯାହା ଉଭୟ ମହଳି ା ଏବଂ 􀈄କୃତ ି ଉପେର 􀈄ାଧାନ􀈻 େଦଇଥାଏ । ମହଳି ା, ଦଳତି
େଗା􀆪ୀ ଏବଂ ପରିେବଶର ପର􀆶ର ସହ ଜଡିତ ଅତ􀈻ାଚାରକୁ 􀆸ୀକୃତି େଦଇଥାଏ | ଇେକାେଫମିନିଜିମର ଐତିହାସିକ ବିକାଶ, 􀈄ମୁଖ
ନୀତ,ି ଏବଂ ବ􀈻ବହାରିକ 􀈄େୟାଗକୁ ବେି 􀆥ଷଣ କରି, ଏହ ି 􀈄ବ􀆆ଟ ି ବଭି ି􀆊 􀈄ସ􀅏େର ପରେି ବଶର ଅବ􀅁ୟ ଏବଂ ଲି􀅏ଗତ
ଅସମାନତା କପି ରି ଅ􀅽ନହ􀇃 ତି ଭାବେର ଜଡତି ତାହା ଅନୁସ􀆆ାନ କରିଛ ି | 􀆳ାୟୀ ଜୀବନଯାପନ, ପରିେବଶ ନ􀈻ାୟ ଏବଂ ମହଳି ା
ସଶ􀄽ିକରଣ ପାଇଁ ଓକଲି ାତ ି କରବି ାେର ପରିେବଶ ନାରୀବାଦର ଭୂ ମିକା ଉପେର ଏହ ି 􀈄ବ􀆆େର ଦଶା􀆽 ଯାଇଛ।ି କଛି ି 􀈄ମଖୁ ଉଦାହରଣ
ଏବଂ ବା􀆱ବ ବି􀆤ର ଉଦାହରଣ ମା􀅼ମେର, ଜଳବାୟୁ ପରିବ􀅧􀆽ନ, ସଂଶାଧନର େଶାଷଣ ଏବଂ ସାମାଜିକ ଅସମାନତା ଭଳି ସମସ􀈻ାର
ମୁକାବଲି ା କରବି ାେର ପରିେବଶ ନାରୀବାଦର ବ􀆤ି 􀆱ରୀୟ 􀈄ାସ􀅏ିକତାକୁ ଦଶ􀆽ାଇଛ ି | 􀈄ବ􀆆େର େଜାର ଦଆି ଯାଇଛ ି େଯ ମହଳି ା ଏବଂ
􀈄କୃତରି ମ􀄽ୁ ି ଅବେି 􀅒ଦ􀈻, ସାମାଜକି -ପରେି ବଶ ନ􀈻ାୟର ଏକ ନୂତନ ସ􀆓କ􀆽ର ଆେଲାଚନା କରବି ା ଏବଂ ଏହ ି ଗୁଡ଼କି େର
ମେନାନେି ବଶ କରବି ା, ଭାରତେର ପରେି ବଶ ନାରୀବାଦ ର ବଭି ି􀆊 ଦଗି ଯା􀅙 କରବି ା ଏବଂ ଏହ ି ଅ􀅽ନହ􀇃 ତି ଆହ􀈴ାନ ର ସମାଧାନ ପାଇଁ
ରଣନୀତି 􀈄􀆱ାବ େଦବା।
ଏଠ ି ବାରମା􀈴 ର ପରିେବଶ ନାରୀବାଦ ବଦଳେର ଇେକାେଫମିନଜି 􀇡ି ଶ􀆑 ବ􀈻ବାହାର କରାଯାଇଛ ି ।
􀈄ମୁଖ

This article positions the twentieth-century New Zealand author Janet Frame as a working-class writer, and as such addresses an absence within Frame criticism. Her works have invited feminist, postcolonial, and postmodernist readings, and in recent years her compositional approach has drawn much interest, issuing in the popular characterisation of her writing as prescriptive. This article intervenes in these debates by insisting on the importance of social class in shaping Frame’s relationship to storytelling and her conceptualisation of authorship. It establishes the centrality of oral storytelling, song, and the recitation of poetry to the first of Frame’s autobiographies To the Is-Land (1982), and identifies a connection between her working-class origins and the oral fabric of the Frame family home. It explores the operations of a domestic mythopoeic practice, which it defines as sociable, transcultural, and open-ended, and shows how this oral culture influenced Frame as she began to engage with processes of literary production and participate in the national literary culture. Close examination of her first publication The Lagoon and Other Stories (1951) reveals a writer uneasy with the associations of print authorship, namely, ownership and autonomy. Close reading of these early stories shows Frame to be intent on preserving their oral provenance and on conveying to the page their original bases in multiple authorship and transculturalism. This article uncovers an early resistance to the politics of individualism represented by the proprietary author, a resistance that proceeds from her classed experiences and which is implicated with her negotiation of the legacies of empire in Aotearoa/New Zealand.

El deber más trascendental de la mujer es asegurarse una educación perfecta en sumo grado, como que es de fines tan trascendentales. Esta educación durará toda su vida en sus tres etapas, perfectamente marcadas: la educación que recibe en el hogar, la que se le da en el colegio, y, por último, la más importante de todas, que abarca su vida entera, que es la auto-educación, en la que ella es educadora y educanda...

The Annual Conference of the Cathedrals Archives, Libraries and Collections Association (CALCA) at St David’s Cathedral, Pembrokeshire, Wales. 17th to 19th June 2025
This presentation explores the history of the Bedell Old Testament and the process of acquiring it in 2020, while also examining the complex relationship between the Irish language and the Reformation Church.
In the 16th and 17th centuries, language was a barrier to Protestant reform in Ireland. Bishop William Bedell (1571–1642), fluent in Irish, promoted services in Irish and translated the Old Testament with native collaborators. His work faced opposition from both English officials, who linked Irish with rebellion, and Catholic authorities, who opposed vernacular scripture.
The Church of Ireland remained largely English-speaking in the 18th century, serving mainly the Anglo-Irish elite. Limited Irish-language religious texts were produced, often as missionary tools rather than cultural recognition. In the 19th century, evangelical groups used Irish in education and preaching during the ‘Second Reformation’, but this was viewed with suspicion as proselytising. By the late 19th century, as Irish declined, the Church of Ireland abandoned Irish-language work, leaving its preservation largely to the Catholic Church and nationalist movements.
The Bedell Old Testament, completed in 1640, survived rebellion, war, and neglect until published in 1685 with the support of Archbishop Marsh and Robert Boyle. The full Bible, combining Bedell’s Old Testament and O’Donnell’s New Testament, appeared in 1690 and remained the only complete Irish Bible for nearly 300 years. Later editions were printed in 1817, and a new Catholic translation, An Bíobla Naofa, was published in 1981.
The pathway to purchase…

Artificial intelligence (AI) opens new possibilities for processing and analysing large, heterogeneous historical data corpora in a semi-automated way. The Ottoman Nature in Travelogues (ONiT) project applies a fine-tuned Contrastive Language–Image Pre-Training (CLIP) model for retrieving images with nature representations in digitized early book prints based on embeddings of visual features rather than on textual metadata. In this article, we present results of our work, including a curated and annotated dataset of 8,042 images of nature representations, and the CLIP-based text–image exploration tool ONiT Explorer. An evaluation of the fine-tuned model comparing it to the zero-shot model confirms the potential of vision-language models for retrieving specific contents from large image collections in the cultural heritage and digital humanities domains. While in general our fine-tuned model can retrieve more correct examples per class compared to the zero-shot model, our analysis also reveals some limitations that need to be addressed in future explorations.

Each of you knows perfectly well that, among the pieces of advice physiognomists and artists or art theorists give to their readers, there is at least one they all share: to observe one's own face in a mirror. Now, the issue I would like to raise during this talk is situated in a particular context, one in which one's own reflection has never so keenly been scrutinized (as the history of the use of mirrors confirms) but above all one in which one has perhaps never so thoroughly played at the little game of making faces in the mirror, as is confirmed by certain writings of the time as well as by some exemplary works of art, like the grimacing self-portraits that were on the rise during this period. That said, my intention here is not to comment on the works in question or to analyze late eighteenth-century Parisians' fascination with the spectacle of those who were called at the time grimacers. I note simply that, at this date, the term designated a type of popular street artist mentioned in several sources. These sources speak, quite particularly, of the acting of Italian pantomimes, whose performances those artists would sometimes endeavor to illustrate in popular prints. To be brief, what I have been keen to emphasize as a prelude to this talk is that the question I am going to address -namely, that of how grimacing is among the ways in which the body creates lapses and lies -took on a new dimension at the very moment when the intentional and calculated expression of facial movements became the object of all kinds of observations. I would like to set up my talk by starting with an article drawn from the Dictionnaire des Beaux-Arts of the Encyclopédie Méthodique, a two-volume work published between 1788 and 1791 that was initiated by the Academician Claude-Henri Watelet and completed after his death by a friend of Diderot, Pierre-Charles Lévesque. This article, signed by Watelet himself, attempts to define the notion of "grimacing" and to legitimate the employment of this term in the language of the Fine Arts. When he worked on this dictionary which was intended to be part of the great publishing enterprise of Charles-Joseph Panckoucke, Watelet was not just starting out; he had already penned several articles devoted to the Fine Arts for Diderot and d'Alembert's Encyclopédie, and, in particular, a contribution to the entry on "grimacing". Moreover, the entry he inserted in his Dictionnaire takes up again several points from the earlier article in the Encyclopédie while also developing new ones that defended an idea that was dear to him, namely that the level of moderation in the expression of the passions is the sign of a society's degree of civilization. In reading his reflections on this question, one quickly comes to understand that, for Watelet, grimacing is not to be limited to the aesthetic field alone. On the contrary, it relates back to discussions that were already well underway before the period of the French Revolution, though those discussions are ones that were soon to take a more political and polemical turn. Here are the terms in which Watelet starts out his article: "I deem it too important for art's interest in recommending simplicity of expression and of character in imitations of nature not to seize the occasion and insist on this precept here, on the occasion of a word one will have all the more right to employ in the language of the arts as they stray further away from true perfection".

¿Para qué investigamos? ¿Para quién? A partir del estudio de la obra de Giorgio Morandi, intentamos averiguar qué interés puede tener su arte para el público actual, especialmente para la gente más joven. A través de 21 conceptos nos vamos adentrando en el misterio de la obra morandiana. Contiene además la última entrevista a Guido Piacentini, en homenaje al fotógrafo y poeta recientemente fallecido.

Hace ya casi medio siglo que Julio Caro Baroja acuñó el término "literatura popular" para designar en una sola unidad un gran conjunto de obras (romances, relaciones, calendarios, estampas, canciones…), las cuales, a pesar de ser "consumidas masivamente durante siglos", estuvieron condenadas al ostracismo académico hasta ese momento. La investigación de este célebre autor sentó las bases en las décadas de 1970 y 1980 de posteriores trabajos sobre estos pequeños textos, tanto por calidad como por formato. En los últimos años el estudio de la literatura popular española ha experimentado un inesperado resurgir científico--divulgativo gracias a iniciativas como: el I Encuentro de Coplas de Ciegos (2013), organizado por la ONCE; el XVI Seminario sobre Patrimonio Cultural: Del cordel a las redes sociales celebrado en la Universidad

In this chapter, I address the question of the relationship between the styles of the non-classicising sophistic prose of the Imperial era and the so-called ‘Asianist’ oratory of the Hellenistic period; I also assess the connection of both to the style of Gorgias, with whom they have often been linked. I base my study on a comparison of a limited selection of texts: five of the longest excerpts quoted in Philostratus’ Lives of the Sophists, Gorgias’ Helen and Epitaphios Logos, the fragments of Hegesias of Magnesia (3rd c. bce), and three late Hellenistic inscriptions. I conclude that, although the passages of Hellenistic and imperial ‘sophists’ undeniably share a broad stylistic similarity that sets them apart from ‘classical’ or ‘classicising’ oratory like that of Lysias, Demosthenes, or Dio of Prusa, the differences between them, especially regarding their relation to Gorgianic prose and their preferences for rhythmical clausulae, are more significant.

書法理所當然是中國傳統文化精粹之一， 與前現代書寫文化有著非常緊 密的聯繫。在 20 世紀中國普遍使用鋼筆、 圓珠筆及鉛筆之前， 理論上任何將 漢字書寫到一定美觀效果的字跡， 都可以叫做"書法" 。尤其是中古時期 (3 到 10 世紀) ， 名家字跡並不一定是那種後來流行的完整格式的書法作品， 如某書 家以某種書體鈔寫詩詞獻給某人。據虞龢 (約 420-約 480) 《論 書 表》 (470 年) 、 陶弘景 (456-536)與梁武帝 (蕭衍， 464-549， 502-549 年在位) 《陶隱 居與梁武帝論書啟》 (6 世紀初) 、 竇臮 (生於 8 世紀上半葉) 《述書賦》 (775 年 成書) 等書法鑒藏的基本材料可知 ① ， 幾行字的殘紙也足以被當作墨寶。也就是 説， 書面交際與書法的關係非常的緊密， 任何識字的人都有可能成"書法家" 。 因此， 早在 8 世紀下半葉的唐代文人竇臮討論書法史和鑒藏史的時候， 把 "書寫" 當作士人之所以立言和仕官的首要工具和媒介 ② 。 理所當然， 書法與識字 之間的關係在印刷術尚未普遍使用的中古時期尤其緊密， 歷代圖書著録都把書 法與文字學文獻分作一類就是這種情況最明顯的反映。朱長文 (1039-1098) 編纂書法文獻纂輯《墨池編》 (成書於 1074 年)的第一個分類是"字學" ， 其中

La actividad turística en España creció un 6,5 % en 2024 y generó miles de empleos (más de 72.000 nuevos) y más de 208.000 millones de euros. En 2024 el turismo cultural se consolida como el motor de la recuperación, el más importante de los grandes sectores que creó empleo neto el pasado año. Crecimiento del 6,5 % más del doble de la economía española. A pesar de los resultados positivos los niveles de actividad del sector apenas han superado los niveles del inicio de la crisis en 2007. Hoy cerca del 13 % P.I.B. (más del 20 % turismo cultural, creciendo). Fuente: Exceltur y medios de comunicación, 16 de enero de 2025.

This text is the final version of the paper originally presented at the conference Collections, remaniements, expositions: les vies du manuscrit médiéval au périodes moderne et contemporaine, held at the Institut national d'histoire de l'art, Galerie Colbert (Salle Giorgio Vasari), on November 13, 2013 in Paris, which was organized by Judith Soria, Tania Lévy, and Ambre Vilain-De Bruyne. Its present publication marks the 30 th anniversary since the collection of medieval manuscript fragments from the monastery Chilandar was rediscovered in the funds of the Regional Museum in Jagodina.