Analyze resources and capacities

Analysts tend to define assets and only identify those assets that can be measured, such as installations and equipment. But the intangible assets, such as a certain technology, collected consumer information, brand name, reputation and corporate culture, are invaluable for the company's competitiveness. In fact, these invisible assets are often the only real source of competitive advantage that can be maintained in the long term.

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Både Ledere OG Academics er Opptatt AV Hvordan Reafter Reaierer På Ø designer Svingninger. Denne Studien Undersøker Forhols Mellom Ressors Til Markedsføring OG Finansielle Evner OG Resultation Til Som er I ferd med Å comes SEG UT AV Den Øconomiske crises I Thailand. For fatteres Har Undersøkt Dette Current Temaet Ved Å Samle Inn Data Fra Det Thailandske Markedet. Markedsføringsevner (Markedsorientering OG Strategisk Fleksibilitet) OG Finansielle Evner (Finansiell Styrke OG Finansiell diversifisering) BLE VALGT SOVHENGIGE Variable. Resultations at finansiell styrke og finansiell diversifisering, i tillegg til strategisk fleksibilitet, hadde positive innvirkling på. Finansielle Evner Hadde Imidlertid Større Innflytelse På results Enn MarkedsføringSevner. Smalling rings AV Disse to Typene Evner Lys Over Ressurallokeringsbeslutningen Mellom de to Funksjonsområdene Når Rederer Midt I en Økonomisk crisis.

Ukraina: Ett År Etter (24. 02. 2023)

Since the beginning of the Russian invasion in Ukraine (January 24, 2022), the Bodleian library for art, archeology and antiquity has maintained a book exhibition that celebrates Ukrainian culture and presents a selection of materials from our collections that awareness of art , Architecture, archeology and history of Ukraine can enrich. It was also intended to update this exhibition at regular intervals, both on the occasion of events and the Independence Day of Ukraine and to prevent the attention. The change of the material is also an opportunity to address areas that may not be so strong in previous exhibitions, and to use the growing collection and the available resources.

Η πρώτη επέτειος εισβολίς ήταν μροφανίς στιγμή τόσο για α αναλτώ τα τονα του περασμ. 1 έαι και για να ασχοληθώ με ορισμένα από τα ζητή που μου έχουν γίνει γνωστά. Μί από δις δυσκολίες αντιμετίπισα ήταν η εύρεση υλικού σύγχρονους καλλιτέχνες καις ααντήσεις τους στρατική επιχείρηση »και στην προύμενη σχεδόν δετί των ρωσικών εχθροπραξν. Αν και πολά πολιτι§ ι section κατα περιοδικά έχουν τον πόλεμο, πολά α άρθρα μένουν μόνο στο διαδίκτυο. Κατάφερα, ωστόσο, να έ έ φυσικό του περιοδικοδικοδικοδικοδικοδικου περιέχει περιγραφή της ενας καλιτ complex τ There ναρξη του πολέμου και εικόνες από την αντίδρασή του σε αυτόν.

Artforum International. V. 60: No. 8 (2022: απρ.). Nikita Kadan. Η σκιά στο έδαφος.

Το δεύτερο θέμα ήθελα ί ί aced η ήταν μταν αά στην ομιλί τ πούτιν αρνή τι ins υ τ Ουκρανίας και δοκίμιό του πρου προηγίθη με ίτλο «για ισ ιστορική ενότα ρώσων και οατι πετάσει κατά την προηγούμενη επανάλη της έκθεσης, αλλά είχα μάθει περισσότερα τον τελευταίο χρόνο. Η η μεταποικιακή ευρίπη ;: δοκίμια για τις μετακουνιστικές λοτεχνίες και πολιτιτισμούς » ποhus, ιδίως κεφάλαιο με τίτλο «ουκρανικός πολιτιτισμός μετά τον κομμmostισμ 201».

One of the most important personalities in the Ukrainian nation is Mikhail Hruschewski, historian and president of the Central Rada (Central Council of Ukraine) before their fall by the forces supported by Germany in April 1918. Despite increasing repression, Hruschewski set his efforts to have a historical legitimation of Ukraine independent of Russia To the end of his life. One of his most popular works was the illustrated history of Ukraine, a linked edition that emerged from his te n-volume overview of the history of the Ukrainian people, the first major work on Ukrainian history. The early version of 1913 can be compared with the revised edition from 1997 after independence.

Mikhail Grushevskīĭ. History of the Ukrainian people. 1913/1997

State coat of arms of the Unr, accepted by the central rada, 1918 The origin of the Cossacks. 1913 Ed. The downfall of the Cossacks and Ukraine. Ed. 1997.

Complikacją w Doborze Publikacji do Wystawy była Deficja Ukraińca. Z Różnych Perspectyw (na Przykład Częstych Zmian Granic I Reżimów) Lista Może Obenjmować O Ukraińskim Dziedzictwie, Takie Jak Sam Hruszewski, Który urodził W chełmie Imperialnej Rosji, W Rodinia Ukraińskiej Arystocracji. Są Też Artyści Tacy Jak Abraham Maniewicz, Urodzony Na Białorusi W Rodinia żydowskiej, Który Studiował W Kijowie I był Współzałożycielem Ukraińskiej Akademii Sztuk Pięknych. Choć Głównie Mieszkał W Kijowie, Podróżował Po Imperium Rosyjskim I Europie, Zanim Wyemigrował Do Stanów Zjednoczonych Po Zamordowaniu Syna W Pogromie Podczas Rosyjskiej Wojny Domowej. Podobnym Przykłademe Jest Sonia Delauney, Również żydówka, Urodzona W odessie, Która we wczesnym dzieciństwie przeniosła Się do Petersburga. Następnie w Wieku piętnastu lat przeniosła się do paryża. Czy Uzasadnione byłoby Włączenie Ważnej Artystki, Pierwszej żyjącej Artystki, Któ major Retrospektywną Wystawę Swoich Prac W luwrze, Tylko Dlatego Ainie, chociaż jej edukacja i kariera miały miejsce za granicą? Every z cytatów na temat jej twórczości poruszył temat ukrainy jako formacyjnego wpływu na jej twórczość.

"Apie 1911 M. Sugalvojau Savo Ką tik Gimusiam Sūnui Pasiūti Antklodę Iš Audinio Gabalėlių, Kokius Buvau Matęs Ukrainiečių Valstiečių Namuose. Kai Ji Buvo Baigta, Medžiagos Gabalėlių Išdėstymas Man Pasirodė Primenantis Kubistines Koncepcijas, Todėl Vėliau Tą Patį Procesą Bandikyti Kitiems Daiktams Ir Paveikslams. "Sonia delaunay [12].

Sonia Delaunay. The composition “Der Sturm” is įrišimui. The recent exhibition In the Eye of the Storm: Modernism in Ukraine, 1900-1930s (Madrid, Museo Nacional Thyssen-Bornemisza, 29/11/2022 - 30/04/2023) presented works from the museum’s collection in conjunction with works from the national collections of Ukraine; it was a response to the “Museums for Ukraine” initiative, providing a cultural protest to both the invasion and Russia’s denial of a distinct Ukrainian culture. In the publication accompanying the exhibition, Francesca Thyssen-Bornemisza addresses this issue, stating that war “is not only about controlling territory, but also about owning the narrative.” In the introduction, curator and art historian Konstantin Akinsha traces the history of modern Ukraine, from the early years of cultural tolerance under the Bolsheviks, through the terror of the Stalinist years, the relative calm of Khrushchev, and Ukraine’s re-emergence as a nation-state. Running parallel to this political history is a cultural history in which the idealism of Ukrainian modernism experienced both genocidal repression and Russian appropriation when Western art markets made modernism useful to the USSR, and then the post-Soviet attempt to rediscover and exhibit the “Ukrainian avant-garde.” The lives of the various artists, who met fates ranging from execution to suppression to imprisonment and exile, were restricted as their works were confined to the “Spetsfond,” a sealed archive for works produced by “formalists,” “nationalists,” and other “criminals.” I

“Almost all the works from the special funds were assigned to the fifth group, the so-called zero category, and most of them were removed from the frames and rolled up. This ultimately saved them from destruction. Since category zero did not belong to the museum's primary collection, it was never included in the official reports and was not subjected to further examination. Therefore, all the works of this group remained intact in the museum's storage, to be discovered by future generations of curators and art historians.

Vladimir Kruglov. Zinaida Serebryakova (2004) Book cover. Zinaida Serebryakova. On the terrace in Kharkiv. 1919. Novosibirsk State Art Museum, Novosibirsk.

In diesem Sinne wollte ich die Arbeiten von Künstlern zeigen, die nicht durch künstlerische Schulen oder Fragen der Identität besechtung sind, sondern sich auf ihre Reaktion auf die Ukraine als Nation concentraten. Zinaida Serebryakova was born in Charkiw in 1884, her family belonged to the artistic establishment of the Russian Reich. Sie spent einen Großteil ihres Lebens im Exil und lebte nach dem Tod ihres Mannes oft in bitterer Armut. Da sie sich nicht an die vom sowjetischen Establishment preferred Themen anpassen wollte, malte sie stattdessen lieber Landschaften, Szenen aus dem ländlichen Leben und häusliche Porträts, oft von ihren Kindern. Da sie sich die Materialien für die von ihr besprechtede Technik der Ölmalerei nicht leisten konte, arbeitete sie mit cheaper Materialien wie Bleistif und Kohle und lernte schnell zu sketchieren. In 1924 she received an order for a Wandgemälde in Paris and left her four children in der Obhut ihrer Mutter zurück. Nach der Fertigstellung dieses Werk konne sie nicht in die Sowjetunion zurückkehren und wurde von ihrer Familie getrenn, obwohl sie die sovjetische Staatsbürgerschaft behielt, bis die Nazi-Besatzung sie zwang, diese aufzugeben, um einen Nansen-Pass zu erhalten. Im Jahr 1947 erhielt sie die französische Staatsbürgerschaft und konnte zwei ihrer Kinder nach Paris holen, den Rest ihrer Familie konnte sie jedoch bis zum so neinnen Chruschtschow-Tauwetter nicht mehr sehen. Im Jahr 1960 wurde sie mit ihrer Tochter wiedervereint, die inzwischen als Künstlerin am Moskauer Kunsttheater tätig war. Ihre Tochter war in der Lage, eine Reihe von großen Ausstellungen in Moskau, Leningrad und Kiev zu organisieren, die 1966 stattfanden.

I chose to show a number of paintings from Serebryakova's earlier work as an opening in the book presentation. On the terrace in Kharkov (1919) shows a peaceful family scene, with strong use of blue and yellow, which emphasizes the theme of Ukraine. The landscapes below of the Ukrainian countryside, with sunflowers, rolling plains and criminal hills offer a counterbalance for the images of destruction that we have seen since the invasion.

Zinaida Serebriakova. Autumn. 1910.

Zinaida Serebriakova, the shoots of autumn crops. 1908. Tretjakov gallery. Zinaida Serebriakova. Landscape on the Crimea. 1913. In contrast to the peaceful landscapes of Serebryakova, the paintings of David Burliuk have the unstable energy that is typical of futurism. Born in Riabushky, part of the Kharkov Government, Burliuks family was a mixture of Ukrainian Cossacks with a Belarusian mother. His portrait of co-futurist Vasily Kamensky is inspired by the Byzantine tradition of icon painting, which is usually used to portray the divine serenity of saints, an effect that is undermined by the color clash and the almost vibrating shapes. The DNJEPR River painting is hardly recognizable as a landscape, the land and the air go up in broken red tones. Burliuks early life was a flurry of travel through Russia and Europe and a succession of movements and manifests. After the end of the initial tolerance of the Bolsheviks for deviating opinions of prominent lef t-wing figures, he was forced to flee via Japan, where he eventually settled on Long Island, New York. Despite persistent campaigning, he was refused permission to visit the USSR until the years of Khrushchev.

Despite the revival of interest in the Soviet Avant-Garde movements after the thaw of Khrushchev, the art markets of the West only had an external view of the influences that ruled in their creation. In his abov e-mentioned essay, Konstantin Akinsha Oleh Ilnytzkyz, an early proponent of Ukrainian futurism: “The goal is not to put a new 'Ukrainian' goose to find the cultural activities in the empire, but to find a way to do justice To the variety of sources and the countless cultural influences that came from so many directions. The recognition of Burliuk, [Aleksandra] Ekster and [Kazimir] Malevich as Ukrainians does not detract from their relevance for the imperial (transnational) avant-garde or for the strict Russian culture, where their influence is unmistakable. ”

David Burliuk. Portrait of the Russian futuristic poet Vasily Kamensky. 1917. State Museum Moscow

Russian futurism. Book cover. David Burliuk. Dnieper Stromschnellen. 1910s Staatliches Leningrader Museum In an einem similar Versuch, die kulturelle Besonderheiten anzuerkennen, hat die Nationalgalerie vor kurzem ihre Pastellzeichnung von Degas, die officiel als Russische Tänzerinnen bekannt ist, in Ukrainische Tänzerinnen umbenannt.

In Eye of the Storm: Modernism in Ukraine, 1900-1930s (2022), which is often used as a source for this exhibition, a short section entitled "A Note on Transliteration" (p. 8) discusses one of the problems encountered when talking about Ukraine and its culture. Acknowledging the complex identities of the artists of this period and area, the project demonstrates that the individuals in question belong to the narrative of Ukrainian art history. Therefore, the editors preferred the Ukrainian translation of the names of the artists, with the exception of emigrants whose reputations in the West had already been established earlier. Using various sources, researching the screen of this book, I was increasingly faced with the question of whether to use Russian or Ukrainian variants of names and place names. Although current sources tend to use Ukrainian names, many (most) printed publications, especially those published before the collapse of the USSR, use Russian versions. Many artists themselves may have used Russian variants, including place names and titles of their works. Not wanting to force a choice, I've largely stuck with the version used in the source material I'm discussing. The modern history of Ukraine and its relationship with Russia has itself led to several linguistic variants. In contrast to imperial Russia, which applied "Russification" to its provinces, Lenin advocated corenization (nativization), i. e. i. e. the policy of promoting local cultures and languages, which aimed to increase the s

Alexander Osmekin, Profile and Flowers (1946)

Although subsequent policies were less severe, the Soviet regime still used imprisonment and censorship as tools to suppress potential opposition. Under these conditions, it was necessary for many artists to adhere to approved methods such as "socialist realism", and even such coded references as colors or national symbols were threatened with censorship.

Mykhailo Boychuk. Portrait of a woman. 1909. Lviv National Art Gallery

Just like Burliuk, the work of various other artists was influenced by Byzantine icon painting and native art. An example is the moving portrait of a woman from Mykhailo Boychuk, which was inspired by folk art, who was executed by the NKVD in 1936, together with two of his students and four months later. The work of Boychuk, described by his murderers as 'civil nationalism' and largely destroyed, influenced the later artist and opponent of the Alla Horska regime, who was murdered by the KGB in 1970. Many of the work of these two artists, often in the form of murals, mosaics and other large public works that used Byzantine sources, was destroyed by the Soviet authorities. Others were kept by fellow artists and archivists, such as Yaroslava Muzyka, who kept most paintings that Boychuk left in LVIV after being forced to leave them behind.

Alla Horska. Sketch for a mosque. 1960 (?)

Bei Meinem Versuch, publications und work von künstlern für die Ausstellung auszuwählen und auch that schicksale - aneignung, unterdrückung Oder Versuche der Auslöschung aus of the Geschicht, Scharerhen, Scharerhen, Scharerhen, Scharerhen, Scharerhen, Scharerhen, Scharerhen, Scharerhen, Scharerah, Scharerhen, Scharerhen, Scharerhen, Scharerhen, Scharerhen. ähigkeit von Menschen zu Bewundern , Die derzeit Darum Kämpfen, Sich as Nation Zu Bewahren, Who Unterschiedlich Auch ever. Eine der Vom Kreml Aufgestellten Behauptungen Lautete, Dass Russland und Volk Seien, Das durch einen Westlichen Staatsstreich is getting, was a "Spezielle Militäroperation" Zu Ihrer wiedervereinigung joined. Die ukraine-tagebücher des Autors Andrej Kurkow, in Danes there there Seine Erlebnisse auf dem Maidan Nezalezhnosti (Unabhängkeitsplatz) in Kiew paints, if there is other sich segment the Versuch von 2014 wehrten vasätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätätab Inspiration für Die Ausstellung. Das Buch „Treasures of Ukraine“ Von Pen Ukraine, für das Kurkov das Vorwrieb, War Ebenfalls von Unschätzbarem Wert, da es eine Kultureschichte und Einen leitfaden für Zeitösssische Werke Bietet.

That foleral Galerie und die Liste der Ausgestellten Publications Können Nur Einen Kleinen Ausschnitt Aus der Sammlung der Bibliothek für Kunst, Archäology und Altertumskunde sore, that Ukraine Feiert.

Gallery

Abstraktion in Russia. Buchumschlag.

More ukrainic modernism. Buchumschlag Alexandra Exter, three female figures, 1910, National Art Museum of Ukraine. Yehven Sahaidachny, go for water. (National Art Museum of Ukraine) Treasures of early Ukrainian art. Book cover. Sonia Delauny. Book cover. Color moves: Art and fashion by Sonia Delaunay. Book cover. Abraham Manievich. Book cover. Abraham Manievich. People from Kyiv. (Evaluation of the artist). Socialist realism. Book handling. Pisanka's collection of Yuiy Ferenchuk. Book handling. Archipenko and the Italian avan t-garde. Book handling. Aiwasowski: painter of the sea. Book handling. Iwan Aiwasowski, sunset by the sea. 1850, art museum, Odessa. Iwan Aiwasowski, evening in the Crimea, 1851, Kunstmuseum, Odessa. Andreĭ Kurkiov. Ukraine diaries. Book handling. Art of the Ukrainian sixties. Book handling ... In the eye of the storm. Book cover. Issakhar Bar Ryback. Stetl (National Art Museum of Ukraine.) Estimate the Ukraine. Book handling. Exhibited publications

AĭVazovskiĭ, Ivan Konstantinovich. 2011. Aiwasowski: Painter of the Sea / Os t-Fildern: Hatje Cantz

Akinsha, Konstantin. Denysova, Katia. Kashuba-Volvach, Olena. 2022. In the eye of the storm: modernism in Ukraine, 1900-1930S. London: Thames and Hudson

Balaschowa, Olha [edito r-i n-chief]. 2021. The art of the Ukrainian 1960s. Kyiv: Osnovy Publishing

Delaunay, Sonia, 2014, Sonia Delaunay. London.

Grushevskiĭ, Mikhai. 1913. Illi͡ustrirovannai͡a isorīi͡a ukrainskago naroda. vyp. 1. S.-Peterburg: Tip. T-VA "Ekateringofsk. Pechatnoe Di͡elo

Grushevskiĭ, Mikhail. 1997 Illi͡ustrirovannai͡a isoriii͡a ukrainy. Kyiv: MPP “Levada

Hnatenko, Stefania. 1989. Skatter Fra Tidlig Ukrainsk Art: Religiø's art FRA Det 16. - 18. Århundre New York: Ukrainian Museum

Kadan, Nikita, 2022.

Artforum International. V. 60: No. 8 (2022: Apr.)

Artforum International. V. 60: No. 8 (2022: απρ.).

Kurkov, Andrej. 2014. Ukrainske Dagbøker: Sendinger Fra Kiev. London: Harvill Secker

Marko, Olya [Redaktør] 1991. Ukrainas Ånd: 500 År's painting art: Utvalg Fra Det Statlige Museet for Ukrainsk Art I Kiev: En Utstilling Organizer AV Winnipeg Art Gallery Til Ære for hundrejubileet for Ukrainsk Bosetting I canada. Winnipeg: Winnipeg Art Gallery

Monti, Matteo de. 2011. Color moves: Art OG Mote AV Sonia Delaunay London: Thames & AMP; Hudson

Morozov, A. I. (Aleksandr Ilʹich), 2007 Sot͡srealizm I Realism Moskva: Galart

Mudrak, Myroslava M. «The Malte Overflaten I den Ukrainske Avantgarden: Fra invoice Til construksjon».

Pantheon 45 (1987): 138-43. [Munich]: [Bruckmann].

Pensler, Alan. 2001. Abraham Manievich, Manchester: Yivo Institute for Jewish Research: Hudson Hills Press

Petrova, Yevgenia. [Sjefredaktør], 2001. Abstraksjon I Russia i det 20. Århundre

Russian futurism: and David Burliuk, "The father of Russian futurism"

Petrova, Yevgenia [editor-in-chief] 2008th century in the Russian Museum: painting, sculpture 1900-2000 Sankt-Peterburg: Palace Editions, 2008.

Pucherová, Dobrota [edito r-i n-chief]. 2015. Postcolonial Europe? : Essays to pos t-communist literatures and cultures part V: between East and West: The colonial present - Ukrainian culture according to communism: between postcolonial liberation and neocolonial submission. Riabchuk, Mykola. Suffering: Brill Rodopi

Shulʹkevich, M. M. 1982. Kiev: Arkhitekturno-historicheskiĭ Ocherk. Kyiv: "Budivelʹnyk"

Teboul, David. 2011. I've been here once before. Boris Mikhailov in conversation with David Teboul. Munich: Hirmer

Surudz͡hiĭ, N. M. 2016. Pysanky Nashykh Babusʹ: Zibranni͡a pysanok i͡urii͡a ferenchuka = ​​our grandmothers Pysankas: Pisanka's collection of Yuiy Ferenchuk / Avtor Proektu Ta Upori͡adnyk. Tscherniwt͡si: Misto

Ukrains'kiĭ Modernizm 1910-1930 = Ukrainian modernism. 2006, Kyiv: National Art Museum of Ukraine

Versari, Maria Elena (curator), 2022 Archipenko and the Italian avan t-garde London: Estorick Foundation

Like @ sac! Trans-day of visibility 2023

Written on 03/04/2023 by Clare Hills-Nova

From LGBT+ history month (February 2023)

Naar de Internationale Dag van de Zichtbaarheid van Transgenders

31 Maart 2023

Ge l-collective Trans Dag van de Zichtbaarheid 2023! Voor deze 31 Maart is onze LGBT+ History Month-Boekenvitrine Opnieuw Intedeeld om de aistacht te vestigen op de trans-kunstenaars the erin zijn opgenoma. As an interdeel van deze verandering Heb IK Ook Trap Door: Trans Cultural Production and the Politics of Visibility (with Press, 2017), Waarin veel shook transkunsteaars en theoretici Interesting Genuance earth arguments. Dit Boek is momentel te zien op een pagina met Kunstenaar, Activist en transman reed erickson. Ik vond de Title van zelfporttret bijzonder toepasselijk voor de dag van de zichtbaarheid: I am Fire, i am wind, i am leg all that you is seeing.

I have also opened the volume Queer!? (Zwolle, 2019) to a page about the Russian-Hungarian performance artist and painter El Kazovsky; and from Jonathan Weisberg's Art after Stonewall: 1969-1989 (2019), I have centered an image of Marsha P. Johnson next to a conversation about her between filmmaker Sasha Wortzel and author and trans activist Tourmaline. Although drag performers like Marsha have a complicated relationship with trans identity - some identify as trans and others do not - their importance to trans movements cannot be denied, and their representation of fluid gender performance complements this theme.

Similarly, it was Nan Goldin, represented in this exhibition through Nan Goldin, by Guido Costa (Phaidon, 2005), who from the 1970s made the art world aware of drag queens and transsexuality. On the cover of this book we find her photograph Jimmy Paulette & amp; Misty in a Taxi, NYC (1991) - just one of the many pictures she took of her drag queen friends.

Although it is very difficult to find explicit trans representation in ancient history, I think the page entitled "A Gender Changing Goddess" from Richard Parkinson's A Little Gay History (2013) provides a concise introduction to the ancient evidence for gender variation.

I hope you also enjoyed this brief look at trans representation in the Sackler Library's collections!

Ashley Parry, Library Assistant Sackler Library, Bodleian Libraries

Like @ SAC! LGBT+ History Month 2023

Posted on 24/02/2023 by jcopeland

LGBT+ History Month 2023 "Behind the Lens" book exhibition by Ashley Parry

It's already February! In the UK, that means it's LGBTQ+ History Month, which is an occasion to recognize and celebrate the lives of lesbian, gay, bisexual, transgender and queer people of all identities throughout history. At the Sackler Library, we're marking this month with an exhibit to highlight LGBTQ+-related items in our collections. This year's theme, Behind the Lens , marks the contribution of LGBTQ+ people to film and cinema, not in front of the camera, but behind it.

The book exhibition Behind the Lens, Sackler Library. Image credit: Ashley Parry

Some of the publications included in the exhibition: Berenice Abbott; Sunil Gupta's Queer; Photography's Orientalism; Robert Mapplethorpe; Outlaw Representation; Blatant Image, in Art After Stonewall. Image credit: Ashley Parry

During the study, I noted the work of the transgender artist Wu Tsang, who uses dance and cinema in his works to examine the topic of perspective. Nors Andy Warhol is very important in Queer in art history, this month I can pay attention to his films. In fact, both Wu Tsang and Andy Warhol illustrate one of the main themes of this exhibition - that LGBTQ+ artists and filmmakers question not only the boundaries between sexuality and gender, but also the boundaries between different forms of artistic expression.

Another artist whose work illustrates this is Derek Jarman (1942-1994), presented at the exhibition "Derek Jarman: Brutal Beauty", also included in the exhibition "Caravaggio Cinema and Literature" :. Jarman is best known for his films, but his installation was greatly influenced by his installation, and he applied his knowledge of art and art history to his film composition and themes.

The anthology exhibits the exhibition also illustrate the transparency of genre boundaries, as the creative work of artists using film installations is also presented alongside poets, photographers and artists.

Well przykład, sex ecologies zawiera różnorodne materialiały, OD photographic Filmowca Pedro Nensea Marquesa after Dyskusje Léuli Eshrāghi Na Temeat Różnorodności Sexualnej I Płciowej Sāmoan. Tom AIDS Riot Zawiera Wywiady Z Filmowcem I Telewizyjnym Partyzanm "Gregggggggggggriowitzem, Który" Postrzegał [»Wideo«] Jako upywilejowane Narzėdzie W processie de demarginalization pwa nych Instalacji, Projectów Graficznych I PERC photocznych collective Art aisycznych Z Nowego York Lat 80. I 90. XX Wieku. Podobnie W Ksiżce Outlaw Representation Richard Meyer omawia Prace Artysty I Filmowa Davida Wojnarowicza Wraz Z Innymi Kojnowersyjnymi Postaciami, Takimi Jak photographer Robert Mapplethorpe. Potencjał Krzyżowania siege photographs in the film Dał miżliwość włoczenia zdjęć mapplethorpe'a do photiii Innych Artystów Queer, Takich Jak Berenice Abbot I Sunil Gupta. W rzeczywistości to właśnie zdjęcie abbot zostało wykorzystane na Plasacie Tej Wystawy.

Wyjęta spod prawa representation: Censorship and homosexuality in Twentieth-centurry American art., S. 262.

Robert Mapplethorpe: sel f-portret Sunil Gupta: sel f-portret (Patrz Gupta's Queer, s. 86) Wystawa Ksiżek Behind The Lens: Plate ( A note about the poster for this book: The image of Berenice Abbott (1898-1991) with a camera at about the same height as the photographer fits well with this year's theme of "Behind the Lens". The Courier typeface, which matches the theme, is also commonly used for scripts. Speaking of text colors , I chose the shades of Valentino Vecchietti's 2021 intersex-inclusive Pride Flag design for the top of the poster, and the colors of Gilbert Baker's original 1978 rainbow flag design for the bottom of the poster. These color palettes include as many queer identities as possible without favoring any one , and at the same time there is a tribute to the last 45 years of queer art history ).

Sexuality and Space bridges the gap between the film and photography books in this exhibition and other exciting publications on queer theory and architectural criticism, such as Eileen Gray and the Design of Sapphic Modernity, and Queer Space: Architecture and Same-Sex Desire. Another related publication, available as an e-book and worth checking out, is Preservation and Place: Historic Preservation by LGBTQ Communities in and Out of the United States.

Utstillingens arkitekturseksjon, which includes Sexuality & amp; Space; Eileen Gray and the Design of Sapphic Modernity; Bachelors of a Different Sort; and Queer Space: Architecture and Same-Sex Desire. Image credit: Ashley Parry.

Selv om the year's theme innebar at det meste av materialite hadde en slagside mot det moderne, ville det være en bjørnetjeneste mot Sacklers samlinger og det sanne mangudet av historische erfaringer å koncentrere seg kun om denne epoken. For example, ville ingen ovidsov over LHBTQ+-historien vært komplett uten den klassische greske poeten Sapfo, hvis diktning om likejjønnet begjær leaded til adjectivet «safisk», og hvis hjemsted Lesbos har gitt oss ordet «lesbisk». Hun er gejennom i denne utstillingen, ikke bare gjennom en samling av diktene hennes, men ogsga gjennom Page duBois' postmoderne analysis av verket hennes i Sappho is Burning .

Our archeology collections representing the LGBTQ+ front, L'homosexualité dans le Proche-Orient Ancien et la Bible and Sex and Gender in Ancient Egypt show that the Ancient Near East was inhabited by individuals who we can now consider homosexual. Queer Archaeologies, a special issue of the periodical World Archaeologies, presents a range of perspectives on how the field can diversify its approach. One of the things I've found instructive in reading about LGBTQ+ interpretations of ancient history is how they challenge heteronormative cultural mores—questioning whether conclusions about ancient life are supported by evidence or based on imported modern assumptions.

One of the pioneers of treating ancient art history as a discipline was Johann Joachim Winckelmann (1717-1768). This influential gay philologist is represented in several featured books, such as Winckelmann - das göttliche Geschlecht and Gay and Lesbian Studies in Art History. Both of these texts examine how Winckelmann's sexuality shaped his approach to the study of ancient art and contributed to innovative ways of writing about the subject.

James Ivory bei den Dreharbeiten zu E. M. Forsters Maurice in der ägyptischen Skulpturengalerie des British Museum im Jahr 1986. Maurice: © Merchant Ivory Productions; Photo by Natasha Grenfell.

Auf Winckelmanns Arbeit wurde ich von Richard Parkinson, dem Autor von A Little Gay History, auferkenz gemacht, der mir freundlichweise auch eines der Bilder zu dieser Ausstellung zur Verfügung gestellt hat, das ein Standbild vom Set der Verfilmung von E. M. Forsters Maurice zeigt, bei der die Partner James Ivory und Ismail Merchant Regie geführt und produkt haben. Forster's Inspiration für den Roman wird auch in der Einleitung zu John Potvins Bachelors of a Different Sort als Teil seiner Beschwörungen des queeren männlichen häuslichen Lebens ervecht. Das Bild dient dazu, einige der Faden der Ausstellung zu verknüpfen, indem es die gyptischen Artefakte im British Museum mit einem Blick hinter die Kulissen der Arbeit von queeren Filmemakern verbindet.

In den Sammlungen der Sackler Library gibt es noch viel mehr faszinierendes Material zu LGBTQ+-Themen zu entdecken, aber nur viel dass es diese Ausstellung passt. Ich habe jedoch viele weitere Titel in die Bibliographie dieses Blogbeitrags aufgemenungen - obwohl ich natürlich noch nicht alles ergeft habe, was die Bibliothek zu bieten hat!

Ashley Parry, Bibliotheksassistentin Sackler Library, Bodleian Libraries

Like @ SAC! LGBT+ History Month 2023

Ackerman, S., 2005. When heroes love : the ambiguity of eros in the stories of Gilgamesh and David , New York.

Alvarado, L., Evans Frantz, D., Gómez-Barris, M., Ondine Chavovoya, C., et al., 2017, Axis mundo: queer networks in Chicano L. A. , Munich.

Anthonissen, A., 2019. Queer. Beeldende kunst in Europa 1969-2019 = Visual arts in Europe 1969-2019 , Zwolle.

Behdad, A. & amp; Gartlan, L., 2013. Orientalism in photography: new essays on colonial representation , Los Angeles.

Betsky, A., 1997. Queer space: architecture and same-sex desire , New York.

Boehringer, S., 2021. Female Homosexuality in Ancient Greece and Rome , trans. Preger, A., London.

Cann, T., Kinigopoulo, A., Sawyer, D., & amp; Weinburg, J., 2019, Art after Stonewall : 1969-1989 , Columbus, OH.

Colomina, B., 1992. Sexuality and Space , New York.

Cortjaens, W., Goerlitz, G., & amp; Tobin, R. D., 2017. Winckelmann - The Divine Gender Selection catalogue for the exhibition at the Schwules Museum Berlin, 16 June to 9 October 2017 , Petersburg.

Davidson, J. N., 2007. The Greeks and Greek Love: A Radical Reassessment of Homosexuality in Ancient Greece , London.

Davis, W., 1994. Gay and Lesbian Studies in Art History, New York.

Dowson, T. A., World Archeology, Oct. 2000, Vol. 32 (2), “Queer Archaeologies”.

DuBois, P., 1995. Sappho Burns, Chicago.

Engel, C., Fenouillat, N., Guitton, A., Di Loreto, B., Loyau, F., Mestrov, I., & amp; Olszewska, A., 2003. AIDS riot: collectifs d'artistes face au Sida = Artist collectives against AIDS, New York, 1987-1994: 12e session de l'École du Magasin, Grenoble.

Gilhuly, K., 2020. Erotic Geographies in Ancient Greek Literature and Culture , London.

Graves-Brown, C., 2008. Sex and Gender in Ancient Egypt: 'Put on Your Wig for a Joyous Hour', Swansea.

Gupta, S., 2011. Queer , Munich.

Hessler, S., 2021. Gender Ecologies . Cambridge, MA.

Julien, I., 2008. Derek Jarman: Brutal Beauty . London.

Kuo, J. C., 2013. Contemporary Chinese Art and Film: Theory Applied and Resisted, Washington, D. C.

Mapplethorpe, R., Danto, A. C., Holborn, M., Levas, D., & amp; Smith, P., 2020. Robert Mapplethorpe, London.

Meyer, R., 2003. Outlaw representation: censorship & amp; homosexuality in twentieth-century American art , Boston.

Morelli, A., 2009. Roman Britain and the Classical Deities: Gender and Sexuality in Roman Art , Oxford.

Murphy, J. J., 2012. The Black Hole of the Camera: The Films of Andy Warhol , Berkely, CA.

Nardelli, J., 2007. Homosexuality and Liminality in Gilgamesh and Samuel , Amsterdam.

Parkinson, R. B., 2013. A little gay history: desire and diversity across the world, London.

Potvin, J., 2014. Bachelors of a different kind: queer aesthetics, material culture and the modern interior in Britain, Manchester.

Rault, J., 2011. Eileen Gray and the design of sapphic modernity: staying in , Farnham.

Römer, T. & amp; Bonjour, L., 2016. L'homosexualité dans le Proche-Orient ancien et la Bible, Rorato, L., 2014. Caravaggio in film and literature: popular culture's appropriation of a baroque genius , London.

Like @SAC! Tutankhamun at the Sackler Library: Excavating the Archive

Written on 12/14/2022 by jcopeland

'Yes, Wonderful Things'(?) A Book Exhibition at the Sackler Library

By Susanne Woodhouse

Fig. 1: The Tutankhamun Book Exhibition at the Sackler Library. Photo credit: S. Woodhouse

In 1922, when Egypt was on the road to independence, the tomb of Tutankhamun was discovered in Luxor. The excavation of the tomb by Howard Carter and his team became a media event and was documented by Harry Burton (1879- 1940) by the Metropolitan Museum of Art, New York. The prints and negatives, together with letters, plans, drawings and diaries, became part of an archive created by the excavators. When Carter died in 1939, he left most of his estate, including the archaeological records, to his niece Phyllis Walker (1897-1977). On the advice of Egyptologists Alan H. Gardiner (1879-1963) and Percy E. Newberry (1869-1949 ), both of whom had been part of the team, Walker donated the documentation and the associated copyrights to the Griffith Institute at Oxford University in 1945. The physical archive remains in Oxford and can be freely explored online, so that scientists from all over the world can continue to study the burial and its discovery. be able to reassess (Rosenow, Parkinson 2022: 8). On the 100th anniversary of the ontdekking of the count of Toetanchamon in November 1922 the fours, created medewerkers van het Griffith Institute in seed work with medewerkers van Bodleian Libraries de tentoonstelling Toetanchamon: Excavating the Archive, died tot 5 februari 2023 te zien is in de Weston Library. (Fig. 2A). The relevant publication (Fig. 2B) has an overview of the archive with 50 relevant items.

Aff. 2A: Toetanchamon: opgraving in het archief (Weston Library): Poster Afb. 2B: Toetanchamon: opgraving in het archief (Weston Bibliotheek): Tentoonstellingscatalogus

In conjunction with the anniversary exhibition and the exhibition at the Weston Library, the Sackler Library (Oxford's central repository for research publications on Egyptology) is showing a selection of works from its collections (Fig. 1). The exhibits are divided into four thematic groups, with relevant new publications added throughout the duration of the exhibition. Other special features of this Sackler book exhibition include facsimiles of two of Carter's drawings, Carter's 1922 excavation diary in which he recorded the discovery of the first level of an unknown tomb on 4 November, and a photo album sold to tourists during the clearing of the tomb (Fig. 3).

Fig. 3: Items from the Howard Carter Archive (facsimiles). Photo credit: S. Woodhouse Publikāciju grupa “Tutanhamona kapa un tā atradumu izrakumi” sāk darbu ar autoritatīvu darbu “Tut. ankh. Amen: The tomb of Tut. ankh. Amen: discovered by the late Earl of Carnarvon and Howard Carter” (“Tutanhamona kapa izrakumi un atradumi”), ko trīs sējumos no 23. līdz 1933. gadam publicēja Hovards Kārters and Artūrs Meiss (1874-1928). Pirmais sējums, kas atvērts 96. lappusē (4th att.), atrodas izstādes centrā: šeit lasītājs atradīs burvju vārdus “Jā, brīnišķīgas lietas”, ko Karters esot izteicis, caur nelielu spraugu durvju a The ielūkojoties kapa priekštelpā un sveces mirgojošā gaismā ieraugot zeltītas gultas dažādās dzīvnieku formās, izsmalcinātas mēbeles, alabastra traukus and ēdiena traukus. Melnbaltā fotogrāfijā (XV plāksnīte, pretī 96. lappusei) iemūžināts Kārtera skats. Tomēr saskaņā ar viņa izrakumu žurnālu (1922. gada 26. novembris), kas glabājas Grifita institūta arhīvā, Kārter's atbildēja: “Jā, tas ir brīnišķīgi”, kas liek apšaubīt a komentāra precīzu formulējumu (James 2006: 253); Vestonas bibliotēkas izstādes catalog vairāk sliecas uz izrakumu žurnālā sniegto versiju, kas rakstīta tuvu notikumiem (Parkinson 2022: 40-41) and nav paredzēta plašai publikai.

attēls: “Jā, brīnišķīgas lietas” (Carter, H., Mace, A. C. (1923): 96. Attēla kredīts: S. Woodhouse When in February 1924 between the Carter and Egyptian Antiquities Service there were fears about the access of media and the constant influx of visitors to a small tomb, Carter and his team left this place in the middle of the season, leaving behind a heavy lid of the coffin hanging from the scaffolding above the casket. In a statement supported by documents intended for private circulation, Carter presented his line of action. This historic document, printed in just several dozen copies, was reprinted and presented by N. Reeves in 1998 (Fig. 5).

These events also appear in the then littl e-known publication "Schlagzeile Tutnchamun", in which the author tracks general media relationships about the discovery of a tomb in the world press, including Germany (Fig. 6).

Fig. 5: Carter 1998. Source of the photo: S. Woodhouse

Fig. 6: Otto 2005. Source of the photo: S. Woodhouse

Dig. 7: The first catalog of the Tutankhamon exhibition at the Egyptian Museum in Cairo (Matḥaf al-Miṣrī 1926). Photo source: S. Woodhouse

Die von Carter und Sein Team Aufgezeichnen Funde Wurden Am Ende Jeder Grabungsson in Kisten Verpackt und Zum ägyptischen Museum in Kairo Transportiert, it's a soft ausgestellt wurden. Neugierige Reisende, Die Carter Um eine Besichtigung des Grabes Baten, Wurden auf die tutankamun-sammlung im ägyptischen museum verwiesen. Im Jahr 1926 Wurde der erste Catalog Der Ständig Ausgestelltene Objekte Veröffentlicht (ABB. 7), Der Intelligum Besucharn Als Galerieführer Diente. Zukünftige ergänzungen des catalogs sollten neu hinzugekommene objekte aufnehmen.

ABB. 8: Zeichnung der vier Seiten Aller Vier Verschachtelten Schreine, Die den Sarg Umschlossen (Piankoff 1951-1952: Taf. 22). BildNachweis: S. Woodhouse

Den Populære beretningen «The Tomb of Tut. ankh. amen» Var Carters Eneste Monograph Om Dette Emnet. Selv om han fortsatte å supplyre utgravningsdokutentene, blah det planlagte flerbindsverket om funne aldri realisert. Som Eier AV Utgivelsesttighetene Var Carter and Poisjon Til å be Kolleger Om Hjelp Medne Denne Kolossale Oppgaven, Men Det Ser Ikke Ut Til At Han Noen Gang Gjorde Det. Etter Hans Død I 1939 Ble Rettighetene, Sammen Med Papirene Hans, Overført Til Niezen Hans, SOM Deretter Overdro Dem Til Griffith Institute and 1945. I 1951 BLE ENDELIG DENG DEN Første Vitenskapelige Monitor, Viet en GROJE GJENSTANDER AV Alexandre Piankoff, EN Spesialist på religiøse texther. In the introduction to Les chapelles de Tout-Ankh-Amon (Fig. 8), the author recalls how the Director General of the Service des Antiquités de l'Égypte suggested to him during the Second World War that he should produce a study of the texts of these four shrines, and how Alan Gardiner of Oxford subsequently granted Piankoff the publishing rights. An expanded English version was published in 1955 (Fig. 9).

Fig. 9: The second golden shrine (Piankoff 1955). Photo credit: S. Woodhouse

In her comprehensive study of Harry Burton's iconic photographs, Christina Riggs calls them "the most famous and compelling archaeological images ever made" (Fig. 10). She describes the technical aspects of producing glass negatives and the difficult working conditions under which Burton took well over 3, 000 photographs.

Fig. 10: Harry Burton's photograph of Tutankhamun's coffin under examination (Riggs 2019: Fig. 7. 1). Image credit: S. Woodhouse

The magnificent color images of the objects were published in 2007 in the form of an illustrated book, the result of a successful collaboration between photographer Sandro Vannini and Egyptologist Zahi Hawass (Fig. 11).

After Carter's papers and publication rights were transferred to the Griffith Institute, Alan Gardiner campaigned tirelessly for the publication of the tomb's contents; this is the subject of the second thematic group on display: "Tutankhamun and Oxford." The Griffith Institute did not have the necessary financial resources for the multi-volume scientific publication of the tomb finds (Fox 1951: Preface; Eaton-Krauss 2020: 17) and the outbreak of the Egyptian Revolution in 1952 ended Gardiner's efforts to find the necessary funds in Egypt (James 2006: 445; Eaton-Krauss 2020: 217-218).

Fig. 11: Detail from Tutankhamun's gilded throne (Hawass, Vannini 2007: 57). Image credit: S. Woodhouse

Fig. 12: Fox 1951. Image credit: S. Woodhouse

In 1951, Oxford University Press published the book "Tutankhamun's Treasure", written by the Griffith Institute's deputy secretary, Penelope Fox, in which various objects from the tomb were presented (Fig. 12). Although this book was not the final publication Alan Gardiner had in mind, it was the first monograph devoted to the finds from the Oxford tomb.

Eleven years later, the Griffith Institute finally published its first objec t-focused study. "Tutankhamon's painted box" is the result of a collaboration between the prominent copyist and illustrator Nina de Garis Davies (1881-1965), who painted facsimiles of all the five decorated surfaces on the box, and Alan curtains, who wrote the introduction (Fig. 13) .

Fig. 13: Panel of a box from Tutankhamon's tomb, copied by Nina de Garis Davies (Davies, curtains 1962). Image: Griffith Institute

In 1963, the Griffith Institute's Tutʿankhamūn's burial series (Fig. 14) was launched, and a total of nine monographs were published until 1990, when the series was completed (Eaton-Krauss 2020: 218-219). After that, the Griffith Institute has published several monographs on specific object groups from the grave, although these are no longer part of a series.

Fig. 14: Tutʿankhamūn's tomb series (v. 9 was loaned when the picture was taken). The photo is credited: S. Woodhouse

Fig. 15: Catalog for the Tutankhamon exhibition at the British Museum in 1972 (Edwards 1972b). The photo is credited: S. Woodhouse

Met The Titel "Toetanchamon A Hot British Museum" Gaat gave the Derde Publicatiegroep over an Van de Meest Iconische Tentoonstellingen Ooit in called Verenigd Konincrikk. Met 1, 602, 000 Bezoekers was called De Meest Succesvolle Tentoonstelling in hot British Museum Tot Nu Toe. In 1972, na Jaren van Voorbereidingen an evil trade, Werd the 50e guardian day van de ont coverage van de Tombe Gevierd Met Een Special Tentoonstelling in Het British Museum; 50 Objecten UiT de Tombe Wernen Tentoongesteld, Waaronderer was called Gouden masks. They cover the insistent tentoonstellingscatalogus toone the intieme scène tussen de koning a zijn koningin vanuit van een guardian schrijn, omlijst in voor die tijd Typische Orange a bridge tinten (Fig. 15). In a Hedendaagse BBC 4 documentaire Liet Magnus Magnusson de Kijker's kennis taste Met de Tentoonstelling. The ridiculous Hiervan - £ 600, 000 (Huidige Waarde £ 7. 6m) - Hielp about the Redding van de Tempels in Philae Te Betalen (Edwards 1972a: 10; Zaki 2017: 86).

In 1992, the 70e guardian day van de ont coverage van de Tombe, Toonde was called British Museum Howard Carters 30 Jaar Werk in Egypt Vór 1922. The Tentoonstelling was Een Academisch a Popular Succes (Afb. 16).

AFB. 16: Catalogus voor de toetanchamon Tentoonstelling in hot British Museum in 1992 (Reeves, Taylor 1992). AFB. 17: James 2006.

AFB. 17: James 2006. AFB. 17: James 2006.

T. G. H. James (1923-2009), deputy head of the Egyptian department of the British Museum at the time of the 1972 treasurer, knew families of colleagues and close contacts from Carter and had unique access to their papers. This publication was followed by a richly illustrated book in which he discusses objects from the grave (James 2007).

The fourth group of the exhibition, "Reception of Tutankhamun", deals with Egyptianism (Fig. 18), literature, the Egyptian national movement and tourism in Egypt after the grave was discovered.

Fig. 18: A Cartier brooch inspired by Tutankhamun's head that protrudes from a lotus blossom (Humbert, Pantazzi, Ziegler 1994: Cat. No. 366). Photo credits: S. Woodhouse

Susanne Woodhouse specialist librarian for Egyptology and Old Orientalistics Bodleian Libraries

With the support of Jenna Iett, Trainee in the Bodleian Libraries library

References

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Eaton-Krauss, M. (2014) 'Impact of the Discovery of KV62 (The Tomb of Tutankhamun)', KMT, 25. 1, pp. 29-37.

Rosenow, D. IR Parkinson, R. B. (2022) "Tutankhamonas: Oksfordo Archyvas", SCRIBE. The American Research Center in Egypt, 58, 8-11.

Zaki, A. A. (2017) "Tutankhamono Paroda Britų Muziejuje 1972 M.: Istorinė Perspektyva", Journal of Tourism Theory and Research, 3 (2), 2017, 80-88. DOI: 10. 24288/Jttr. 312180

Rodomos Knygos

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Beinlich, H., Saleh, M. and Murray, H. (1989) Corpus of the Hieroglyphic inscriptions from the tomb of Tutankhamun: with the concordance of the number systems of the "Journal d'Abagen" of the Egyptian Museum Cairo, the Handlist to Howard Carter's Catalogue of Objects in Tut interesting's Tomb and the exhibition. Oxford: Griffith Institute, Ashmolean Museum.

Broshat, K. IR Schutz, M. (2021) Geležis iš Tutankhamono Kapo. Cairo: Americos Universiteto Kaire Leidykla.

Carter, H. (1998) Tutankhamonas: Atradimo Politica. Londonas: Libri.

Carter, H. and Mace, A. C. (1923-1933) The Tomb of Tut. ankh. amen Discovered by the Late Earl of Carnarvon and Howard Carter. 3 Tomai. Londonas; Niujorkas: Cassell.

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Haas Dantes, F. (2022) Transformation of a king : an analysis of the equipment of Tutankhamun's mummy. S. l.: Lietuvos istorijos institutas: SCHWABE AG.

Hawass, Z. A. ir Vannini, S. (2007) King Tutankhamun : the treasures of the tomb (Karalius Tutanchamonas : kapo lobiai). Londonas: Thames & amp; Hudson.

Hepper, F. N. (2009) Pharaoh's flowers: the botanical treasures of Tutankhamun. 2nd edn. Chicago; London: KWS Pub.

Humbert, J.-M (2022) Art deco: Egyptomania. Paris: Norma Éditions Humbert, J.-M., Pantazzi, M. and Ziegler, C. (1994) Egyptomania: l'Égypte dans l'art occidental, 1730-1930. Paris: Reunion of national museums.

James, T. G. H. (2006) Howard Carter: the path to Tutankhamun. Rev, pbk. Londonas: Taurus Parke Paperbacks.

James, T. G. H. (2007) Tutankhamonas: berniuko faraono amžina didybė. Rev. Vercelli: White Star.

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Litauer, M. A. Jar, J. H. (1985) chariots and related equipment from the tomb of Tut'ANKhamūn OXFORD : Atlantic Highlands, N. J: Grifffith Institute ; Distributed in the U. S. A. By Humanities Press (tutʿʿʿʿAankhamūn's tomb series ; 8).

málek, J. (2007) Tutankamun : Haudan Salaisuudet ja Faraoiden elämä Lontoo: carlton.

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Matḥf al-miṣrī (1926) a short description of the objects from the tomb of Tutankamum Now exhibited in the Cairo Museum [Kairo: Egypt Museo]

Mcled, W. (1970) composite bows from the tomb of Tut'ANKhamūn Oxford: Griffith Institute (tutʿʿAnkhamūn's tomb series ; 3).

Mcled, W. (1982) Self bows and other archery tackle from the tomb of Tutʿankhamūn Oxford: Griffith Institute (tutʿʿankhamūn's tomb series ; 4).

Murray, H. og nttalll, M. (1963) A handlist to hopes catalogue of objects in tutʿankhamūn's tomb Oxford: try for Grifffith Institute at the University Press av V. Ridler (tutʿankhamūns gravserie ; 1).

Otto, A. (2005) Schlagzeile Tutenchamun : Die Publicistsche Begleitung der Entdeckung Desr Ausräumung Des Grabes Von Tutenchamun Marburg: tectum.

Parkinson, R. B. (Red.) (2022) Tutankhamon : Excavating the Archive Oxford: Bodleian Library.

Pankofff, A. (1951-1952) Les chapelles de touch-ankh-amon Le Caire: IMPR. de l'insttut français d'archéologi orientale (mémoires publised and s membres de l'instituis français d'archéologe orientale du caire ; t. 72).

Pankoff, A. Og Rambova, N. (1955) The Shrines of Tut-Ankh-Amon New York: Pantheon Books (Bollingen Series ; 40:2).

Quaegebeur, J. Og Cherpion, N. (1999 ) La Naine Et Le Bouquettin Leuven: Petters.

Reeves, N. (1990) The complete Tutankhun : The king, the tomb, the Royal Treasure London: thames and hudson: thames and hudson.

Reeves, N. Og taylor, j. h. (1992) Howward Carter Before Tutankamun London: British Museum Press for Trustees of the British Museum.

Reid, D. M. (2015) Contesting antiquity in Egypt : archaeologies, museums & amp; the struggle for identities from World War I to Nasser. Cairo: American University in Cairo Press.

Riggs, C. and Wace, R. (2017) Tutankhamun : the original photographs. London: London, 2013 (in English): Rupert Wace (Rupert Wace) Ancient Art.

Riggs, C. (2019) Photographing Tutankhamun : archaeology, ancient Egypt, and the archive. London: Bloomsbury Visual Arts (Photography, History: History, Photography).

Riggs, C. (2021) Treasured : how Tutankhamun shaped a century. London: Atlantic Books (Bulgaria).

Tait, W. J. (1982) Game-boxes and accessories from the tomb of Tutʿankhamūn. Oxford: Griffith Institute (Tutʿankhamūn's Tomb Series ; 7).

Vartavan, C. de. and Boodle, L. A. (1999) Hidden fields of Tutankhamun : from identification to interpretation of newly discovered plant material from the Pharaoh's grave. London: Triade Exploration (Triade Exploration opus magnum series in Egyptology ; 2).

Veldmeijer, A. J. (2010) Tutankhamun's footwear : studies of ancient Egyptian footwear. Norway, Netherlands: Drukware (Bulgaria).

Vogelsang-Eastwood, G., Hense, M. and Wilson, K. (1999) Tutankhamun's wardrobe : garments from the tomb of Tutankhamun. Rotterdam: Barjesteh van Waalwijk van Doorn & amp; Co's.

Wilkinson, T. (2022) Tutankhamun's trumpet : the story of old Egypt and 100 objects. London: Picador: Picador.

Posted in Book exhibition, Like @ Art! Merket med arkeologi, bokutstillinger, Sackler Library

Markering av Ukrainas independence day: 24. august 2022

Written on 28/09/2022 by Clare Hills-Nova

Ukrainas independence day at the Sackler-biblioteket book exhibition

Av Jamie Copeland

The Sackler library has since started the Russian invasion in February and hosted an exhibition celebrating Ukraine's unique culture (see below for an earlier version).

An earlier version of the Sackler-bibliotekets bokutstilling om Ukraina

Although the exposition was created and regularly complemented (Salter (Needie Salter), which was in the library), it was believed that something new; Both to celebrate Ukraine's Independence Day and to do whatever libraries can raise awareness of the heritage of Ukrainian art, archeology and architecture. There was also the opportunity to show the spaciousness of the Sakler collections, ranging from archaeological finds, including Scythian jewelry, through the Golden Age of Kiev and the treasures of churches, to the riots and events of the last centuries in which avan t-garde and contemporary artists have continued to diversity of viable Ukrainian culture.

Since the date of independence of Ukraine was close, I wanted to focus primarily on the collections of Sakler because they were immediately accessible (compared to items stored in other libraries) and could be selected to achieve a visual impression and included in the curator's collection that focuses on material culture. I also wanted to take advantage of the opportunity to highlight individual artists, who, in my opinion, have made a significant contribution to Ukrainian culture. One of the most interesting issues in the conflict was also a debate on what forms an independent Ukraine and whether there is nationality such as Ukrainians; From the history of the wandering population and the controversial borders to the USSR internationalism, masking hunger and deportations. Promoting some artists, it seemed to me that I could explore the history of people such as Kazimir Malevich, an ethnically Polis h-born artist born in Kiev and was highly regarded as a leading Soviet avan t-garde figure, but was arrested for crimes against "socialist realism". . Another interesting person for me was Donia Naschen, born in Gitomira (then in Russia, now Ukraine), whose family fled from the Tsarist pogroms and settled in London, illustrated Gogol's work, Hagada translations and World War II propaganda posters. I wanted to take advantage of the opportunity to highlight such people from different environments associated with war and exile, but which, in my opinion, is characterized by a common Ukrainian environment and its crops.

It was also necessary to create a poster to advertise the exhibition. While doing research on the artists, I had seen a work by Malevich which, unlike his more abstract works, shows a figure, almost featureless, standing against a background close to the flag of Ukraine. Although the figure is faceless, this seemed to make it more representative of a people, with its apparent immobility expressing a sense of steadfastness.

Poster image: Kazimir Malevich. The Sensation of an Imprisoned Man (1930-31)

When I read about the painting technique that Malevich used, het building up the layers of paint to obtain a unique color through the stacking of the surface, it occurred to me that I could add a (digital) layer of yellow to the image if they resembled the vlag te bermcen without fully erasing the underlying image. I had the feeling that it was symbolic for the different histories of Ukraine and could work as a promotional poster for the exhibition, the Sackler collection over the Ukrainian culture moest weerspiegelen, the independence day moest vieren en verder moest reiken dan de oorlog. The changes to the image were made with GIMP, which mostly used the brush effect to preserve the color similarity and let the original image be seen. It was then pasted into a Word document so that the text of the poster could easily be adapted.

Norêju, kad expositoriją sudarınő meno, archeologijos ir arhitektorishte kolekcijos, taip pat norêju ħalħiħi kħidħ knibų, for example, „Europos vartai: Ukrainos istorija“, kurije bħa tautos iztorijos ħawgħa, ir knighas, viena iš ħiħiħ ir dabar Ukrainoje ġorwamų kalbų, kurios bõi käytäs konkretässäms temoms aptarti, ir knygas iš Saklerio rinkinių. Norêju, kad šios köngos, kurios yra tekstinės, bų sudėtos į krupą, šųųai kaip knygyne, kad žanaų vaų vaų naršyti po tomus ir nesijaustų, jog kėsinasi į sutvarkytą ekpospriją.

To complement this and to reflect the strength of the Sackler Library's collections in architecture, archaeology, and art, I decided to group the books in an order that roughly follows the collection's location in the Sackler's five-story building. (See photo galleries below.) I therefore began on the left side of the exhibition, with objects from the archeology collections (normally located on the lower floors of the library) forming a column with a striking visual image. As a supplement to this, I placed a German language book on the early history of Crimea, and chose a map showing the migration of the Scythians through the Crimea, which I hoped would show the long history of migration and at the same time show Ukraine and the now annexed Crimea as deeply connected geographical areas. On the opposite side there were also illustrations of archaeological finds, which I wanted as a demonstration of the scientific aspect of this collection. While organizing the exhibition, I became concerned that a prominent map of an invasion might not be a good fit on a day when we were celebrating our nation's independence. To balance this, I placed a book showing the collection of the Lviv Picture Gallery, turned to a page that contained a portrait of a woman dressed in blue and yellow.

In navolging this, a shift towards the art collections of the Sackler Library, I placed a selection of books on individual artists in the back room. Het boek 'Alexis Gritchenko: Dynamocolor' opende bij een schilderij met againe een sterk gebruik van geel en blauw oppende het kapitoltitelcitaat 'The Young Ukrainian Artist Has Conquered Paris', waaran ik vond dat het het belang aantoonde van Ukraine's contribution to the global culture en de verlegde weerlegde dat Ukraina slechts een Russische provincie was waaran het gevels van tiee een recente westerse creatie was.

In support of the poster, I placed a book with Malevich's name clearly visible. Although Sackler has an impressive collection of publications about this artist, I was careful to stay focused on Ukraine's Independence Day, so I limited myself to one book on Malevich and one book about Anna Leporskaja's collection of his works, as she was an important Ukrainian artist in his own right. I also believed that her work as an archives showed how important cultural institutions are like collective memory banks. During this, I placed a copy of the Haggada, with Donia Naschen's illustration of Israel's slavery, as I felt that this would be a recognizable scene, and that the yellow color fit the adjacent campaign for brands that support Ukraine.

(Please get your Ukraine brand in the exhibition).

Finally, I placed another group of books with the themes of religious arts and church buildings, as this would represent Sackler's collections on architecture and the importance of the Orthodox Church in Ukraine getting autokephali in 2019, which was described by the then president as "a charter for [Ukraine] spiritual independence ”.

Hoewel Ik Redelijk Tevreden was Met de Uiteindelijke Stop Stelling van de Tentoonstelling, was Ik Me Bewust van de noodzaak about traditioneel Endervertegenwoordigde the artificial steppers a culture Binen Binnen was named Oekraïnectum tea latency. Hoewel is Recentelijk Werk over Deze Categorieën Is Gepublicerd, Zijn Veel van Deze Publicaties Voornamelijk Online Beschikbaar, Zodat Ik Ze Niet in De Tentoonstelling Konn. IK WILDE OOK BETS GEBUIK MAKEN VAN DE COLLECTIES Kunsttijdschrift Van de Sackler, Vooral Met Seeking Tot Meer Hedendaagse Krunstenears. Aangezien was called the plan about the Tentoonstelling in the coming Weken Bij Te Werken, Hoop IK der Materiaal in tw o-coming arrangement tea Tea Knowed.

Jamie Copeland Bibl i-Assistant, Lezersdiensten, Sackler Bibliotehek

Lijst Met Boeken

Andersen, Troels K. S. Malevich: Het Leporskaya Archief N6999. M34 A834 EN 2011 https://solo. bodleian. ox. ac. uk/permalink/f/89vilt/oxfaleph01970336

Müller, S. & amp; Anderen Die Crimea 580 m. 104

Oekraïens MillenniumComité in Groot-Brittannië Een Millennium van Christelijke Cultuur in Oekraïne M88. C00608

Het Bekijken Van Onze Special Collecties: Een Evening Voor Student Kunstgeschiedenis

Geplaatst op 11/05/2022 Door Salteri

Dante Alighieri. The Goddelijke comedy. Vertaald Door T. G. Bergin. Geïllustreerd Door Leonard Baskin (New York: Grossman, 1969)

This blog post describes my experience as a graduate library intern at the ‘Introduction to Bodleian Libraries Special Collections’ event, held for History of Art students and graduates at the Taylor Institution Library in December 2021.

Setting up for the Bodleian Libraries Special Collections event, held for History of Art students at the Taylor Institution Library, December 2021. In the foreground: Edgar Allan Poe. The Raven. Illustrated by Mario Prassinos. (Paris: P. Vorms, 1952)

In all libraries, we have a great many intriguing and unique items. Yet it can be difficult for readers to know how to find them and where to start. Here, the then Subject Librarian for Art & amp; Architecture and Italian Literature & amp; Language, Clare Hills-Nova, was able to use her knowledge of the Bodleian Libraries’ collections to introduce Art History students to some of our lesser-known holdings. If you come to Sackler in September 2021, you will be happy to bring you my time with visual cultural materials. You arrange and produce with Japanese photography (til støtte for Ashmoleans Tokyo! -utstilling), label your own stander with WJ Strachan-samlingen and treat your publicity for architecture and art and broaden the spectrum of periods and geographies. It has been a long time since you have loved and referred to your studies at university, you are here to stay. Da Clare has a great arrangement with their plan for students from the Institute for Art History, and also with a great deal of experience.

Artist tolkninger av Dante's Wicked Comedy (1300-tallet - 2000-tallet) Arrangementet besto av to deler. The strongest, some hold the Voltaire rommet, the Taylorian expression of Dante Alighieri and his wonderful comedy, some of my fellow practitioner Malcolm Spencer her complete picture and så fantastic mate. Her current curator, Professor Gervase Rosser, and presenter are entitled «Illustrating Dante's Divine Comedy - on artists' interpretations of the themes expressed in the Comedy».

Dante's Divine Comedy'. Exhibition installation: One of the vitrines in the Voltaire Room, Taylor Institution Library, featuring work inspired by Dante's Divine Comedy. (Artists represented: Federico Zuccari, Giovanni Stradano, John Flaxman, and Leonard Baskin.) Credit: Malcolm Spencer

Professor Rosser gave an overview of the changing reception of Dante’s Divine Comedy over the centuries. The lecture (and exhibition) included: a facsimile of one of the earliest illustrated Dante manuscripts, from the 1330s; an edition of Doré’s groundbreaking engravings, which established him as a ‘master of visual dramatic narrative’ (Angel, 2014) (see image below, line 2, tile 1); and the compelling illustrations of American artist Leonard Baskin (b. 1969). Also on display were some of the many recent translations of the Divine Comedy – some with striking book covers and other illustrations.

A selection of translations of and commentaries on Dante’s Divine Comedy, from 1544 to 2018, on display at the event.

Edouard Goerg. L'Enfer [Dante's Hell] (Paris: J. Porson, 1950)

In advance, Malcolm and I collected from our libraries items on artists' engagement with Dante.

Ezek között volt egy kis kiadvány, amely Geoffrey MacEwan festményeit illusztrálja, Edouard Goerg metszetei Dante L'Enfer (Pokol) című művéhez , számos új fordítás az Isteni komédia képeivel, valamint az Uffizi nemrég me gjelent kiállítási katalógusa, a Dante: la visione dell'arte, amely a Dante által inspirált számtalan mű és a többi irodalmi életmű közül sokat dokumentál. A kiállítás vitrinjeiben but látható könyveken kívül további könyvek is gondosan elhelyezésre kerültek a teremben, keretbe foglalva a kiállítást.

Athanasius Kircher L'Arca di Noë (Amszterdam, 1675) című műve.

Athanasius Kircher. L'Arca di Noë (Amszterdam, 1975) Друга частина заходу відбулася в залі 2 Тейлорівського інституту, with more information More information кої бібліотеки. Ці роботи варіювалися with 17-го століття до Токіо 1970-х років і Лос-Анджелеса 1960-х років. Найдавнішою роботою на виставці була «L' Arca di Noë» Афанасія Кірхера (1602-1680 ) (Амстердам, 1675). Це видання включає, наприклад, Кірхера до і єрогліфів. More information фи - завдяки своїм перекладам і коментарям він став вважатися «одним з найбільших ерудитів Європи 17-го століття» (Klawitter, 2015).

The pages exhibited at the event were depicted by folding the inside of Noah's ark, depicting Noah's family, a barrel containing food (or beer), and various creatures. The most impressive thing in this picture is that it shows the dimensions of the ark's own dimensions under the image. This is not only an interesting detail, but also provides a realistic basis for narratives. For contemporary people, it was easier to imagine the ark, and the magnificent nature of the ark, including a pair of unicorns, felt more reliable.

Atanasius Kirker. Arca di Noe (1675) [Images that synthesize and paste multiple photos on the folded page of the book] close: beer barrel and unicorn; The ark's dimensions.

F. G. Harborfield collection (interpretation of 18t h-century classical art)

PIEVēRšoties 18. Gadsimta Anglijai, skolēja apskatīt arī piemērus no saklera f. haverfīlda Arhīv a-Konkrēti īku attēlu kollkcijas. IZSTā Aplūkojama LittleCote Parkā, Viltšrā, Atrastās Mozaīkas- “Orfeja” Mozaīka s-ILUSTRācijz džozefa Bonomi (1739-180 8) Oriģinālajam paklāja un Griestu dizainam (1785) Bowood House, Viltšrā. Bonomi, tā daudzi Viņa laikabiedri, piemēram, brāļi Adami-DžONS (1721-1792), Roberts (1728-1792) Ja dažādos Laikos, ilvesmojās no klasiskās mākslas un arhitektūras. Domājams, ka haverfīlds, espējams, savā attēlu kollekcijā bija IEKļāvis bonomi zīmējumus Lātās Mozaīkas. Patiešām, paklājs pēc formas un satura Ir līdzīgs Mozaīkai (un, Iespējams, tāpēc haverfīlds to IEKļāva savā kolekcijā). Vairāk par šiem var uzzināt bijušās praktikantes hlojas bolsoveres (chloe bolsover) Šs paralēles uzreiz bija pārliecinošas. Skolēja Aplūkot fizkās kopijas, kas bija Izstādas viena blakus otrai cijas pamatā esošajiem domāšanas process.

Joseph BONOMI. Desain Karpet dan Langit-Langit Centaur Centaur Untuk Bowood House, Wiltshire (1785); George Vertue. Mosaik romawi yang d i-mukan di taman LittleCote (1730)

KOLEKSI W. J. Stracan (Pertengahan Abad Ke-20)

In the weeks leading up to the event, Clare and I had been researching the Strachan Collection of mid-20th century artist books made in France for possible exhibits. The Strachan Collection includes more than 250 works, in which, according to Strachan himself, "every 'ism' from Cubism to Neorealism is represented." So deciding which objects to choose for the event was a challenge.

William Shakespeare. La Tempête. Illustrated by Leonor Fini (Paris: Aux dépens d'un amateur , 1965)

In the end, we decided to focus primarily on women, non-French, and other lesser-known artists. The choices were Leonor Fini's beautiful lithographs of Shakespeare's La Temp ête (The Tempest) and Chinese artist Zao Wou-ki's lithographs of André Malraux's La Tentation de l'Occident. I thought Wou-ki's work was particularly well suited to the "show" aspect of this event: his luminous and gestural works seem to capture hard emotions so succinctly that they are hard to miss.

Andre Malraux. La Tentation de l'Occident . Illustrated by Zao Wou-ki (Paris: Les Bibliophiles Comptois, 1962) [Bottom left corner: Le livre d'artiste: A Catalogue of the W. J. Strachan gift to the Taylor Institution (Oxford: Ashmolean Museum & amp; Taylor Institution, 1987)]

The exhibition was attended by Hanso Bellmerio, a famous painter. Bellmeris labiausiai žinomas dėl to, kad sukūrė natūralaus dydžio lėlių seriją ir jas fotografavo. Nacių partija šiuos darbus pavadino “išsigimusiais”, todėl 1938 m. Jo susidomėjimą lėlėmis galima įžvelgti “Les Marionettes” raižiniuose, curious jis iliustravo šiek tiek išardytas galūnes. Jos nuspalvintos ryškia mėlyna ir geltona spalvomis. Mano nuomone, dėl to Bellmerio darbai ypač gerai tinka parodai “Parodyk ir pasakyk”: žiūrovai gali atsekti jo piešinių linijas ir mėgautis unikaliomis spalvomis rudame popieriuje.

Henry of Cleistas. Les Marionettes. Iliustravo Hansas Bellmeris (Paryžius: G. Visat, 1970).

In addition to these artists from the Strachan Collection, Wifredo Lam's etchings were seen for L'Antichhambre de la Nature. Lam, who was a Chinese and Afrocuban descent, familiarized himself with African spiritual rites. At that time he also began to be influenced by surrealism. In 1938 he moved to Paris and met members of the art and poet scene. He began working with Picasso and increasingly interested in cubism. After the Nazis had occupied Paris, Lam returned to Cuba. Here he combined his diverse artistic influences with his cultural experiences and created works on Afrocuban identity. For me, these various influences make Lam's work so unique and impressive. His unique work was therefore very suitable for the event to view and appreciate the variety of the Parisian art scene of the 1930s.

Alain Joffroy. L'Intichhambre de la Nature. Illustrated by Wifredo Lam (Paris: O. Lazar-Vernet, 1960)

Ed Ruscha's Every Building on the Sunset Strip (1966)

Edward Ruscha. Every Building on the Sunset Strip (Los Angeles, 1966) Students see Edward Ruscha. Each building on the Sunset Strip (Los Angeles, 1966)

We also showed Edward (Ed) Ruschas iconic work Every Building on the Sunset Strip (1966). On his way through West Hollywood, Ruscha added hundreds of his photos from Sunset Strip to an 8 meter long linear picture. He shot these photos from his pick-up, on which a motorized Nikon camera was attached. Interestingly, Ruscha decided to put it in an infinite lens, so that everything is equally sharp in every picture. The result is remarkable, almost like a smoothed photo montage. Every Building on the Sunset Strip was delivered in a slim silver slipcase - deceptively small (18 cm). When we opened the slipcase, we asked our construction workers again and again to get another table to support the length of the "strip". In the end, he stretched almost over the entire length of the Taylorian's Room 2! On the pictures shown here, the viewer can capture the extent of the strip, as Ruscha may have intended (many museums show him in the formal form of accordion).

Edward Ruscha. Each building on the Sunset Strip (1966)

The Japanese Box (1960s 1970s)

What I was personally most excited about was The Japanese Box , a facsimile edition (2001) of ground-breaking photographic works produced in post-war Japan. During this Michaelmas term 2021 at the Sackler Library, I worked with a lot of material about Japanese photography, especially from the 1970s. In connection with the Tokyo exhibition at the Ashmolean Museum, I created a book exhibition and an accompanying blog post. While doing research for the post, I read a lot about Provoke, an avant-garde Japanese photo magazine from the 1960s-1970s, and its associated photographers. I really fell in love with the style and aim of the magazine. The photographers' task was to restore the "documentation", and they were concerned with showing life in 1970s Japan beyond the general perception of the country as an economic powerhouse and the post-war ideal. When Clare told me that the event for the art history students would include a box of newly acquired facsimiles of the three issues of Provoke, along with monographs by Provoke photographers, I was genuinely excited.

Die japanische Box: Provoke Ausgaben 1, 2 und 3; Takuma Nakahira. Kitarubeki kotoba no tame ni (Für eine kommende Sprache) (1970); Nobuyoshi Araki. Senchimentaru na tabi (Sentimental Journey) (1971); and Daido Moriyama. Shashin yo sayonara (Ein Abschied von der Fotografie) (1972)

The Japanese Box : Facsimile-Reprint of sechs seltenen fotografischen Publikationen der Provoke-Ära. Designed by Karl Lagerfeld. (Limitierte Auflage, Paris, 2001)

As with many Japanese publications, it was clear that a great deal of attention had been paid to the design and packaging of this facsimile set. Characteristic was the black box in which the publications were housed: it had been designed by Karl Lagerfeld. Inside, ‘designer’ plastic bands, labelled ‘The Japanese Box’, held the six publications carefully together. We spread them out on the table, ready for the students to examine. As we picked up each volume, we were met with a rich array of photographs of Japan and each artist’s personal experience of living there. These ranged from Nobuyoshi Araki’s honeymoon photographs in Sentimental Journey ( Senchimentaru na tabi ), to student protests in Tokyo in Provoke . A few days before the event, Clare asked me to introduce the box and its contents to the participants. Examining and presenting this set was a highlight of my internship. After my presentation, several students asked to study the contents of the box further, and we discussed the Provoke movement as we looked at our favorite images in the set.

Closing Thoughts

At the event itself, the students seemed to be completely absorbed in the works we were showing. In the Voltaire Room, where Professor Gervase Rosser presented the Dante-inspired work, attendees asked questions about how different artists interpreted the themes of the Divine Comedy. In Room 2, the group lined up along the length of each building on the Sunset Strip, pointing out (for example) where pasted photographs cut out cars. L'Arca di Noë invited students to explore the interplay between imagination and reality, while others admired the various artist books and various mosaic patterns from the Haverfield Collection. Although the event took place on the last day of the semester, it was packed, with many attendees eager to study and discuss the works on display. It was a great success and a tribute to the remarkable Special Collections offerings in the libraries. I can’t wait to explore them further.

Izzie Salter Intern, Sackler Library

References

Engel, Sara. “Too Many Illustrations, Not Enough Glory: Known for his Art for Dante’s ‘Inferno,’ Gustave Dore Merited Wider Fame.” Maclean’s (Toronto) 127. 23 (2014): 66. Web. (publicly available here )

Strachan, WJ. The Artist and the Book in France. The 20th Century Artist’s Book. London: Owen, 1969. Print. (Shelfmark Sackler Library: 914. 2 Str)

Illustrating Dante’s Divine Comedy Through the Eyes of Final-Year Italian Students

Written on 01/03/2022 by Malcolm Spencer

introduction

By Dr. Rebecca Bowen (lecturer for Italian, Pembroke College)

Illustrate dantes divine comedy. Exhibition view, Voltaire Room, Taylor Institution Library (October - December 2021)

In 2021, Dante Alighieri, the Florentine poet, author of the Divine Comedy and an icon of the European Literature of the Middle Ages, died in his honor. Live readings of the poem and even ice cream with Dante motifs. This cultural eclecticism testifies to the persistent effects of Dantes works and the celebrity of his image, an image that can rise in gastronomic offers as well as in praise hymns on its literary power. The distorting effects of fame dealt with Dante, who complains at the beginning of his philosophical treatise convivio: I have appeared before the eyes of many who, perhaps because of a report (fama), have seen me in another light [... because] that Image that produces fame alone is increasingly, whatever it may be than the presented in its true state ”(Convivio. I. III. 11).

Rodomos Knygos

Under the leadership of Dante’s stately Taylorian bust, whose personal iconography is the subject of myth and debate, the exhibition presented a range of colorful interpretations of the Comedy. What the poet himself might have made of this visual afterlife becomes an almost inevitable area of ​​speculation. In an apocryphal tale from the 1290s, the Florentine writer Franco Sacchetti imagines Dante loudly defending his poem against the misquotations of a blacksmith, exclaiming, “I have no other craft, and you ruin it” (Trecentonovelle, 114). As for craft, the Comedy is largely a literary artifact, addressing the reader no less than fifteen times and often emphasizing the ineffability of its own descriptions. What is a reader of Dante’s poem to make of visual interpretations of its text? Studenten der italienischen Literatur und Sprachen des Abschlussjahres von den Colleges Pembroke, Merton und Wadham widmeten sich dieser Frage und nutzten ihr Wissen über Dantes Gedicht, um die reichhaltigen visuellen Traditionen zu untersuchen, die in der tayloristischen Ausstellung gezeigt werden. Izzy, Joshua, Anna, Matt und Olivia geben Einblicke in die materielle Geschichte und die visuellen Details einiger der ausgestellten Objekte und untersuchen die Rolle dieser Illustrationen als kreative Aufzeichnungen der Dichterrezeption und stellen Überlegungen darüber an, warum sie sich für die Dante- Lektüreinterestsieren.

Illustrationen aus dem 19. und 20. Jahrhundert mit Werken von John Flaxman (unten links), Giovanni Stradano (oben rechts) und Federico Zuccari (oben links) Isobel Sanders (Merton College) Milton Klonsky. Blake's Dante: The Complete Illustrations to the Divine Comedy (New York: Harmony, 1980).

Klomsky presents a suggestive set of drawings and engravings of Blake to Dante's comedy, ordered by John Linnell, who tried to provide inspiration for Blake's creativity along with the very needed money at the end of his life. Few of them are complete, but it doesn't make the rest less addictive. Rather, we get an insight into Blake's artistic process, imagining what a "completed, colored" version could look like. The works strictly stick to the text, although Blake did not always agree with Dante's policy, which reveals the condemning comments to friends. Slight deviations also appear in its watercolors. The angel at the entrance to Purgatory seems bored or unhappy, his eyelids are half closed; In the presentation of hell 14 Blake, the fire burns up instead of falling down. Could it be an act of opposition to the punishment chosen by Dante, known as ContraPasso, in which sinners experienced the form of a repayment directly related to their sin, often in the opposite form? Politics, theology, ideas about happiness and sexuality add nuances to Blake paintings. After all, the transition from one form of art to another can never be an accurate "translation". Blake's illustrations, although rooted in the era of romanticism, evoke a renaissance - faces have something of Botticelli, or maybe Da Vinci. Full of imagination, disturbing and thoroughly beautiful drawings of Blake establish a dialogue not only with Dant, but also with other illustrators.

Joshua Lavorini (Pembroke College)

Dante Alighieri. Opere di Dante Alighieri: Dedicata Alla Sagra Imperial Maestà di Elisabetta Petrna, Imperatric di tutte le Russie ec. EC. door graaf don kristoforo zapata de cisneros. Geïllustreerd Door Francesco Fontebasso, Ga Etano Zompini & amp; Anderen 1757)

In this image, Dante represents his work to the Venice's Demolish. The royal figure of the Dozula can remind of the exile in which Dante spent the last twenty years of his life, since he has known the “bitterness of someone else's bread” (“Come Sa Di Sale / Lo Pane Altrui”, par. XVII. 58-59) and has always been at the same time at the same time Proposable and humiliated by the patronage of other yards. The position of the crown over the head of the dozel can make meaning: in the Paradiso Dantazes it fantasizes that one day “I will return to the poet, and at the font where I was baptized, I will take the crown” (“Ritorneró Poeta, E in Sul Fonte / Del Mio Battesmo Prenderó ' L Cappello ”, par. The faces in the crowd are also forced to think: why are those who on the right look at the sky? What are those who on the left look at? Only the rain seems to look right at the Tuscan poet. The dedication of this publication Elizabeth Petrovna, the Empress of Russia from 1741 until his death in 1762, indicates that the presence of Dante in Russia in the 18th century intensified. Boris Antonov says that Petrovna encouraged Ivan Shuvalov’s foundation of the Imperial Academy of Arts and financed the grandiose baroque projects of her beloved architect Bartolomeo Rastrelli, in particular, the Peterhof Palace. Obviously, she was very interested in art (she spoke French, Italian and German, as well as in Russian).

Tchaikovsky often quoted lines from Inferno V: "There is no greater grief than to remember moments of happiness" ("Nessun Maggior Dolore / che ricordarsi del Tempo Felice / ne la Miseria," Inf. V. 121-23 ).

Above left: The combined comment from Landino and Vellutello. Below right: Elisabetta Petrowna dedicated edition

Anna Zakonyi (Pembroke College)

Dante Alighieri, Cristoforo Landino, Alessandro Vellutello, La Comedia di Dante con l'espositione di Christoforo Landino, et di Alessandro Vellutello (Venice: Giovambattista Marchio Sessa et Fratelli, 1564).

Landin and Vellutetello's joint commentary on Dante's Divine Comedy in 1564. Initially released by the Venice Printing House Sesa, editing Francesco Sansovino. This volume consists of 28 introductory sheets and 392 comment sheets, returning to a medieval tradition of folio, included in the illustration of wood carving from Marcolini's Comedy (1544) and both comments with Dante's poem quotes. The illustrations, contrary to the previous iconographic tradition, act as a continuation of comments, especially focusing on the topography of Dante's afterlife. The combination of Landin and Vellutello's "Comedy" (initially published in 1481 and 1544, respectively) is also innovative as it combines two different approaches: Landin gives priority to allegory and Vellutetello. Such a novelty was a public recognition, and Sesa in 1578. and in 1596. repeatedly published this volume with minimal corrections. Particularly interesting is that Landin and Vellutetello gave great authority to Dante's poem. Note, for example, how comedy fragments are explained by both the Argomnot Kant Summary under the illustrations and the double comment that includes Tercin; This allows commentators to lead the reader's interpretation, which reflects the medieval tradition, according to which commentators usually assumed supremacy to their texts. Given the modern dominance of Dante

Matthew Webb (Wadham College)

Lippmann, Friedrich. Tequeningen van Sandro Botticelli Bij Dante's Goettliche Komoedie: Naar de Obalan in Het K. Kupfeabinet Zu Berlin (G. Grote'sche Verlagsbuchhandlung, 1887).

This facsimile of Botticelli's original drawing from around 1481-88 shows the terrace of pride in singing X des Purgatorio. Botticelli's drawings differ from other representations of Dantes text from the fourteenth century by presenting a continuous narrative. Instead of concentrating on a single occurrence in the singing, we are guided through the terrace of pride, as Dante von Virgil, whose leadership indicates the chronology of the scene. First we see Dante and Virgil from a crevice from a crevice at the bottom left. After you got up to the terrace, we see four different scenes that move to the right. The first three scenes in which Dante and Virgil Marmorgravures look at biblical and pagan stories that illustrate humility, the stories within the main count of Dantes and Virgil's journey and reflect the effect that Dante achieves in his text through ecphrastic descriptions of the engravings . In this way, Botticelli's drawing captures the depth and complexity of Dante's story instead of presenting a static event. I find the amazing detailed detailed fascinating, especially the presentation of the marble engraving in the picture, a virtuoso display of Botticelli's own skills as a painter (and maybe also a sign of pride). The original was part of a larger collection of illustrations, which had been commissioned by the patronage of the artist, Lorenzo di Pierfrancesco de 'Medici, and those when they were at the end of the 19th

Kairėje: MS. 8o IT. 3 (1395). Dešinėje: Botičelio Iliustruota Dantės "Pasididžiavimo Terasa" (Purgatorio X).

Olivia Ganderton (Pembroke College)

Lippmannas, Frydrichas. Sandro Botticelli Piešiniai Dantės "Dieviškajai Komedijai": Kupferstichkabinet in Berlin (Berlin: G. Grote'sche Verlagsbuchhandlung, 1887).

Bottiicelli Iliustruota Dantės “Skaistykla I

In the 15th century. At the end of the 19th century, the drawing of Botichel "Purgatori I", often considered to be commissioned by Lorenco di Pierfrancesco de 'Medici, was of interest to me precisely because of the challenge of the artist to depict this particular Kant and introduce the viewer to the brand new Kant - purgatory. The drawing depicts Dante and Virgil into the kingdom of purgatory, where she meets its patron, Katon (the figure farthest), who advises to wash Dante from the dirt on the hell. When moving from right to left, the following elements of Kant are illustrated: Caton stops poets and ask them about their affairs; Virgil cut the grass to wash the Dante; Virgil is surrounded by Dante's waist in reeds; A full ship full of new souls arrives on the shores of the purgatory. These events take place one by one, but Botichel decides to include every moment in his drawing at one point, giving this stage of the afterlife of integrity and circle, but decides to give each stage the same status. This continuity is further emphasized by the drawing by incorporating the farthest ship full of souls on the right, which will be described in the second "purgatory" Kant, thus providing a conceptual connection between the composition of the painting and the text narrative movement.

Weittere Lectüre:

Antonow, Boris (2006). Russische Zaren. St. Petersburg: Ivan Fiorodov Art Publishers.

Gombrich, E. H. (1979), 'Giotto's Portrait of Dante?, The Burlington Magazine, 121. 917: 471-483.

PARKER, Deborah (2013), 'Illuminating Botticelli's Chart of Hell', million, 128. 1.

Ricci, Lucia Battaglia (2009), 'Ai Margini del test: Considerazioni Sulla Tradizionion Del' Dante Illustrate ', Italianistica, 38. 2: 39-58.

Rosser, Geraves (2005), 'Turning Tale Into Vision: Time and the Image in The Divina Commedia, Res: Anthropologie und ästhetik 48: 106-122.

Such in die sackler library brringen: Japanische PhotoBücher in der Ausstellung

Veröffentlicht AM 10/11/2021 von Salter

Ricci, Lucia Battaglia (2009), 'Ai Margini del test: Considerazioni Sulla Tradizionion Del' Dante Illustrate ', Italianistica, 38. 2: 39-58.

Oben: Ninagawa Mika. Tokyo Aus der Serie Utsurundesu (Seit 2018). Modelle: Amiaya. (Ausselungslakat für Tokyo: Art and Photography. Ashmolean Museum, 2021) Copyright Ninagawa Mika, Mitundlicher Genehmigung des Künstlers und der Tomio Koyama Gallery.

The exhibition is complemented by the Ashmolean Museum's Tokyo: Art and Photography (July 29, 2021 - January 3, 2022) book fair at the Sackler Library featuring Japanese photo books, books on Japanese photography, and related exhibition catalogs. For the next few weeks, some of the Japanese photo books in the Sackler Library's possession are on display (in the first floor rotunda) for readers to get a closer look at.

The works in the collections of the Bodleian Libraries (particularly the Sackler Library and the Bodleian Japanese Library, or BJL) range from the 1965 book Why Mother Why, featuring works by the iconic photographer Hosoe Eikoh, to the 2020 exhibition booklet by the multimedia artist Tokyo Rumando. In his first solo exhibition at the European Museum in Tokyo, Rumando presented his self-portrait photographs and films.

Takano Ryudai's photo books on display at the Ashmolean Museum. Credit: Dr. Lena Fritsch

Since the end of the Second World War, Japan has dominated the international camera industry through companies such as Canon, Fujifilm, Nikon, Olympus, Sony or Pentax (formerly Asahi). Unterstützt von diesen Unternehmen, die einige der besten Kameras, Objektive und Filme der Welt herstenalten, haben Fotogalen wie der Fuji Salon oder der Canon Salon kurzistige Ausstellungen veranstaltet. Amateur-Fotoclubs fördern Wettbewerbe, Ausstellungen und Zeitschriften. Asahi Camera , founded in 1926 by the Asahi Newspaper Company, ist das Sprachrohr der All-Japan Association of Photographic Societies (AJAPS, Zennihon Shashin Renmei) und die ältste Fotozeitschrift des Landes. Sie enthät Fotos, Bewertungen von Arsüstung und Ausstellungsberichte. Eine weitere beliebte Zeitschrift, Nippon Camera , gibt es seit 1951. Das Internet bietet heute Zugang zu Bildern und Texten, aber bis vor kurzem waren Fotozeitschriften eine wichtige Quelle für Informationen über Fotografie, auch über Werke aus dem Ausland. Die Fotografie in Japan has developed into a network of camera companies, clubs, galleries, publications, journals and online platforms. Sie ist nicht nur ein wichtier Wirtschaftszweig, sondern auch ein soziokulturelles System das sich auf unzählige Fotografen und Fotofans stützt, die eine große Anzahl high-quality Bilder schaffen. Diese "Fotowelt" ist ein Parallelsystem zur "Kunstwelt" in Japan, die ebenfalls bedeutente fotografische Werke hervorgebracht hat.

Fotoboeken te zien op de exhibition in Tokio. Credit: Dr. Lena Fritsch

Daido Moriyama's Daidō photography books (Record, edited by Mark Holburn; and Daido Moriyama: The World Through My Eyes, edited by Filippo Maggia)

The photo book has become a key element in the development of Japanese photography, especially since the post-war years. Given Japan's long tradition of high-quality paper and book production, as well as the lack of photography exhibitions and storage facilities in densely populated Japanese cities, the popularity of the photo book is not surprising. Even today, for many photographers, the photo book remains the most important format in which they can present their work. The iconic photo books of Fukase Masahisa, Araki Nobuyoshi or Kawada Kikuji continue to inspire young artists around the world. Over the past 30 years, interest in Japanese photography has grown both in Japan and abroad, leading to an increasing number of exhibitions. Japanese photography books have also become in demand internationally.

Tokio is the main motif of Japanese photography, from the post-war documentary of Kimuru Iheia to the dynamic pictures of Shinjuku quarter by Moriyama Daidō, the daily photography of Ginzy by Araki Nobuyoshi and the colorful pictures of urban life by Ninagawa Miky. The number of photographs is endless, and photography of such a motif in the city is as romantic as the city itself. Japanese photography does "truly copy" the outside world (as indicated by the Japanese term for photography "shashin"), but from a "realistic" approach in the first post-war years, it developed into a free form of expression, which is often prepojená with the life of photographers and their subjective experiences. Tokio vo fotografi malo mnoho fľarí a no doubt sa bude v futuruť odnože mení, vyvijať a nanovo si predstavovať. Mozhno najpútavejšie fotografie Tokaya odkudu buduje aj odnaženų connected with life and internal visions of photographers.

Japonské fotoknihy a fotografie Tokia v Ashmolean Museum. Credit: Dr. Lena Fritsch

The Sackler Library’s book display aims to provide a ‘taste’ of the diversity of Japanese photography, with familiar names such as Araki and Moriyama, but also younger female practitioners who are less well-known internationally, such as Nagashima Yurie, Tonomura Hideka and Tokyo Rumando. I hope that the exhibition will inspire both staff and students, as it reflects both the quality of Japanese photography and the importance of the photobook as an artistic object in its own right. The work of many of these photographers has not yet been sufficiently researched. The exhibition will run throughout Michaelmas term 2021, and beyond, and we invite you to come and take a closer look!

Dr Lena Fritsch Curator of Modern & Contemporary Art, Ashmolean Museum

Sackler books on display in the Ashmolean exhibition

The Sackler Library has loaned three publications to the Ashmolean exhibition:

Kimura Ihei. Tokyo: The Fall of 1945. Tokyo: Bunka-sha, 1946

Sohei Nishino. Tokyo. Tokyo: Amana, 2015 (A diorama with a photographic map of Tokyo)

Tsuzuki Kyoichi. Satellite of Love: Disappearing Beauty of Japan's 'Love Hotels'. Tokyo: Asupekuto, 2001

Preparing the Display: My Personal Perspective as a Graduate Library Trainee

Sackler Library Poster for the Japanese Photobook Exhibition

When I was asked to curate this display, I naturally jumped at the chance. Since the Sackler Library has opened up to more readers (post-Covid) and reinstated its New Books Display, the activity from before the Covid years has gradually picked up again. The Ashmolean’s advertisement for the Tokyo exhibition is hard to miss: visitors and passers-by to the museum see Ninagawa Mika’s bright photo of two young women bending their pink fringes toward each other, one of them adorned with a dazzling ‘Gucci’ clip (see above). I pass the Ashmolean poster daily on my way to work, and it continues to catch my eye. Welcoming new and returning readers to the Sackler Library with a connected display seemed like perfect timing. This post is a little insight into the process of setting up my first book display and all I learned along the way.

Tokyo Photo Book Display, Sackler Library

I started to collect the list of Tokyo photo books in the Sackler Library, that of the co-curator of the Ashmolean exhibition, Dr. Lena Fritsch was put together. When I had all the books together, I quickly found that Japanese photography not only consists of color images of pulsating scenes of the Tokyo Night Life, as they are shown on the exhibition poster. When leafing through for a new world to come: Experiments in Japanese Art and Photography, I found countless grayscale shots. Even without color, the pictures are remarkably expressive.

Extract from OH! Shinjuku from for a new world to come: Experiments in Japanese Art and Photography, Museum of Fine Arts, Houston

Ένα από α αγαπημένα μου spreads από το for a new world to come είναι το oh! του Shomei Tomatsu. Shinjuku (1969). Αυτές εικόνες δείχνουν σκηνuted όιο. Μια από τις πιο δάσημες φωτογραφίες της σειρίς, με aced διαδηλωτή σ συεται με τ αστυνομα, ξεχωρίίτερα. Προφανώς, ο ίχαν ενημερίσει τοopp τομάτσου για το suit διαμαρτυρίας (καδηλωτή) ον φωτογρίφο να απαθανατίσει τη στιγμή. Μέσα α δη δημιουργί αυτής έκθεσης, έμαθα για το στυλ «are-bure-boke»: εδώ, οι φωτογραφ ops όπως ακριβώς και η λήήη του tomatsu. Η θ ό της αποτυπίνει πραγματικά τον ταχύτο ρυθμό του τόκιο Δεκαετίας του 1960 αέρα, δείχνοντας δεν χρειίάονται πάντα έντονα χρίματα γ α αντιληbilityς το ενός τόπου στο χρόνο.

Når du ser på disse, can be the mange paralleller til Andre ustilte bøker. VI Har Også verken Til Daidō Moriyama. I sin introduksjon til daido moriyama (Tate, 2012) Beskiver Simon Baker Moriyama som «en av Japan's most victiest og mest Innflytelsrike photographer OG Fotobokkapere», Som har fanished siden 1964. Likevel kan du ikke gå glipp Av de Velkjente, USKarpe Gråtonebildene Gjennom Hele Boken. I 1968 Ble Moriyama Med I Group Provoke OG Deres Magasin Med Samme Navn, the Are Bure-Boke Var Stilen som Kjennetegnet. Så Selv Ved Å Skumlese Fotobøker Kan man SE EN Typisk Documentajons style for 1960-alllets Tokyo. Sol Medarbeider Uten formally art historisk utdannelse er det noe veldig bilfredststillende ved Å identifier temaer g trender med en lekmanns blikk!

Omslaget Til Daido Moriyama, tells AV Simon Baker. 2012. Tate publishing

When I organized the exhibition, I came across more than 1960s photography. Ishiuchi Miyako: PostWar Shadows (2015), for example, contains works from 1976-2007, and her work is fascinating, with everything from pictures of apartments to close-ups of human hands and skin. I decided to collect photo books covering a longer time span, for readers who want to immerse themselves in Japanese photography and see how it has evolved over time. (These groupings have now merged as readers watch and move around the books in the exhibition).

The exhibition also includes books that are normally in our external premises. Readers who are familiar with Bodleian Libraries' collections know that we have many, many books. Despite the fact that there are many libraries around Oxford, we cannot store all the books in our collections on site, and a large number of them are stored outside the site. For example, among the books that have been temporarily returned to the premises, we find other publications on Moriyama, as well as other artists' photo books.

Kai Visos Knygos Saugiai Atvyko į Case Muziejų, Pradėjau įrenginėti expoziciją. Išskyrus Tai, Kad Per Darbo Naktiką pradinėje Mokykloje Buvau ištiesęs pagalbo's ranką, tai buvo Beveik Visiškai nauja sritis. Laimei, photochnygose Yra Gražių, Galingų Ir Intriguojančių Vaizdų, Kuriais Vadovavausi įustrengdama expoziciją. Po Tam Tikro Laiko, Kai Reikėjo Pakoreguoti Stalų išdėstymą, expozicija buvo paruošta naudoti.

Nobuyoshi Araki: Tokijo Natiurmortas. 2001

Kai Sprendžiau, Kur Išdėstyti Knygas, Man Buvo Ypač Svarbūs du Dalykai. Pirma, žinajau, Kad Noriu, jog Knygos Būtų ATVERSTOS: Juk expozicija skirta photography jai! Sunkiau buvo išsirincti, curią knygą atversti: verčiau puppy PO Pushing, ieškodamas labiausiai (man) patinkančių nuotraukų. Galiausiai Pasirinkau dvi Nuotraukas Iš Nobuyoshi Araki Knygos "Tokijo Natiurmorta", curiosity vaizduojami keturi Besikkbanty's Berniukai Ir įspūdinga fashiona, sėdinti Iržrinti į. Man atrodo, Kad Jos žwlvsnis Betik Kviečia toliau Nagrinėti Knygas. (Tiesa, mūsų skaitytojai su malonumu apžiūrinėjo expoziciją nuo pat parodos pradžios, o vienas iš jųliau pakeitė puppius, kad juose būtų pavaizduotas miegantis katinas. Knygos Skirtos Skaitytojams.)

Tokyo Rumando. Stāsts pair s, 2020

Second, while all of our books are available to take home, I wanted the Tokyo Rumando 2020 exhibition booklet to be particularly accessible. It is the most recent work in the exhibition and is by a lesser-known artist. I especially wanted to encourage visitors to the exhibition to engage with newer artists to show them how the world of Japanese photography has evolved to date. Flipping through her booklet, her work is a compelling story of female empowerment: between shots of women of all ages, clothing, and poses, she emerges as one of my new favorite artists. I hope everyone who views the exhibition finds it as insightful as I did.

Izzie Salter Library Intern, Sackler Library

References

Gyewon Kim. Paper, Photography, and a Reflection on the Urban Landscape in 1960s Japan." Visual Resources 32:3-4 (2016): 230-246

Sarah Boxer “Japan Tormented, Melted, Reshaped.” New York Times, September 12, 2004

Reading List

Eikō Hosoe and Mark Holborn. Ordeal by Roses: Photographs by Yukio Mishima. New York: Aperture, 1985

Black Sun: the Eyes of Four: Roots and Innovation in Japanese Photography. Edited by Mark Holborn. New York: Aperture, 1986

Daido Moriyama: Record, edited by Mark Holborn. London: Thames and Hudson, 2017

Daido Moriyama , edited by Simon Baker. London: Tate, 2012

Daido Moriyama: Vertellingen van Tono Vertaald by Lena Fritsch. Londen: Tate, 2012 For a New World to Come: Experiments in Japanese Art and Photography, 1968-1979. Houston: Museum of Fine Arts, 2015 Daido Moriyama: de world door my ogen. On the editorship of Filippo Maggia. Milaan/Londen: Skira/Thames and Hudson, 2010 Lena Fritsch. Raven & amp; rode lipstick: Japanse photography sinds 1945. Londen: Thames and Hudson, 2018. Nobuyoshi Araki. Araki: Tokyo Lucky Hole. Keulen/Londen: Taschen, 1997 Nobuyoshi Araki: Tokyo Stilleven . Birmingham: Icon Gallery, 2001 Emfatisch en compromisesloos: Kitai Kazuo's photography. Tokyo: Yumiko Chiba Associates, 2019 Provoke: tussen protest en performance, photography in Japan 1960/1975 . On the editorship of Diane Dufour & amp; Matthew S. Witkovsky. Gottingen: Steidl, 2016 Hiromi Tsuchida. Fukushima: 2011-2017 , Tokyo: Misuzu Shobō, 2018 Shomei Tomatsu. Chewgom en chocolate. On the editorship of Leo Rubinfien & amp; John Junkerman, New York: Aperture, 2014 Naito Masatoshi: Another world discussed . Worked by Tetsurō Ishida & amp; Satomi Fujimura. Tokyo: Tōkyō-to Shashin Bijutsukan, 2018

Sato Tokihiro: presence or absence. Tokyo Metropolitan Museum of Photography, 2014

Nagashima Yurie and a touch of irony with a touch of love. Tokyo Museum of Photographic Art, 2017 Amanda Maddox et al. Ishiuchi Miyako: pos t-war shadows. Los Angeles: J. Paul Getty Museum, 2015

Rodomos Knygos

Hitomi Watanabe. Tōdai zenkyōtō 1968 1969. Tōkyō: shinchōsha, 2007

The origin and development of modern photography in Japan. Tokyo Metropolitan Museum of Photography, 1995

The modern gap in Japan: the photos of Hiroshi Hamaya and Kansuke Yamamoto. Edited by Judith Keller and Amanda Maddox. Los Angeles: J. Paul Getty Museum, 2013

Hiroshi Hamaya. Senzō Zanzō: Shashin Taiken 60s. Tokyo: Chikuma Shobō, 1991

Top collection: Tokyo Tokyo and Tokyo. Metropolitan Museum of Photography. Tokyo: Case Publishing, 2016

Dog out of purgatory: illustrate Dante's divine comedy

Posted on 04/10/2021 by Malcolm Spencer

Above: Taylor Institution Library, view from St Giles'.

This article originally appeared on the Oxford Libraries Graduate Trainee Blog and was r e-published with the author's permission.

Deja, by pastaruosius aštuoniolika Mėesių Daugelis Iš Mūsų Atšaukė, Sutumpino Ir Atidėjo Daugybę Švenčių, įskaitant Gimtadienius, ŠVESTES, JUBILYJUS IR PASIEKIMUS. Mažųaiausiai buvome priversti Šias Šventes Perkelti į Internetą ir bendrauti su Šeima ir draugais per Nešiojamųjų kompiuterių ir telepiuterių ekranus savotiškoje skaitmenine

Iš Šios Pandemijos Sukeltos Skaistyklos Grįžęs į Realų Pasaulį, Neseniai Grįžau į Oksfordą, Miestą, Kurį Anksčiau DAUGELį Met Vadinau Namais. Mano Atvykimas Sutapo su daugelio pastarųjų pusantrų withų aprojimų (Atsargiai) Atšaukimu. Pirmąją Savaitę Pradėau Dirbti Naujuoju Stažuotoju Taylor Institution Bibliotekoje (Liaudiškai Vadinamoje "), toodėl Nyksta Nyksta Vietos, Registravosjes į intymealių bibliotekos Erdvių.

Viršuje: Teiloro Instituto Biblioteka, Vaizdas Iš Oro (2008 m.)

Like the Bodley Library, the conventional anniversary and commemoration of many other institutions and historical personalities were disrupted by the closing measures and the restrictions on major meetings. It is gratifying that the prospect of freedom of Oxford University staff and readers coincided with another cause of the celebration-Dante Alighieri (1265-1321), the great Italian poet and philosopher, 700th anniversary of death. Therefore, the Taylor Institution Library, Weston Libry and Ashmolean Museum has prepared three exhibitions featuring works from a large and various libraries and museum funds, presenting visions and insights of the most famous author's "Divine Comedia". Works are included in Taylor's collections in Ashmolean and Weston exhibitions. Meanwhile, the exhibition of Taylororian "Illustration of Dante's Divine Comedy" is also based on the Saxon Library, the main places of Oxford visual culture research. In addition to my normal duties in the library (which I gradually get to know), I was lucky enough to join Clare Hills-Nova (Sackler Library and Taylorian Library of Italian Literature and Language Librarian) and Professor Gervasse Rosser, all three Oxford Dante Dante's Exhibition Curator , the exposition of manuscripts and illustrated books.

Oben: Taylor Institution Library, University von Oxford (Architekt C. R. Cockelell, 1841-45)

Die Hier Zur Verfügung GestellTen Fotos Bieten Einblick in Das Spectrum der Texte und Bilder, Die Für Die Taylor-Austellung Ausgewählt Wurden, und in Den Prozess, der Zu ihrer Vorbereitung Für Die öffentlung Führtte. Ich KAM KAM DIESEM PROZESSESS HINZU, Nachdem Clare Und Gervasse sich Auf Die Auszustellenden Werke Geinigt Hatten und deren Zusammellung Aus Den Selten Büchern und Manuskripen des Taylorian und Andnereren Bibliotheksstandantten Abschlosen War. Das Handbuch Zur Austellung EINHält Einführung Zu Den AusgeStellThe Sowie Sowie Sowie Eine List der Werke, Die Sie Für Die Aufnahme in Betracht Zogen.

Gemeinsam Verbrachten Clare und Ich Einen Nachmittag Damit, Den Aussellungsraum Vorzubereten - Inmitten der Bereits Beingrucenden Bestände des Voltair e-Saals der Bibliothek.

Oben: Bibliothek der Taylor Institution, Voltaire-Raum (Ca. 2010)

A preliminary placement of the exhibits according to the chronological arrangement agreed by Clare and Gervase gave us a feeling of how the different prints, manuscripts and books would fit into the showcases.

Working with a number of old and rare editions - including some of the oldest books that I could see up close during my time in Oxford - required a careful handling and the use of foam pads and "snakes" (long, cotto n-wrapped metal beads, the open books). Clare is a restorer and therefore had an experienced eye and a guided hand throughout the process.

Above: preparations for the showcases

After this first test run of the showcases, I was commissioned to prepare a bibliography in order to provide visitors to the exhibition a comprehensive list of the texts on display and the texts consulted during the curating process. This not only offered me an excellent opportunity to familiarize myself with the solo catalog ("Search Oxford Libraries Online") of the Bodleian libraries again, but also required some more detective work to find the full information about some of the obscure texts in to collect the exhibition.

Norsu Susipažinęs Su Tokio Pobūdžio Darbais, Kai Tyrinėjau Ir Rašiau Rusijos isoriją at Ieškojau Tekstų, Katalogizuotų įvairiomis Transliteruotos Formomis, Rengiantis Šiai Teko Apsvarstyty, ūzų at Vokiečių Kalbomis. Pasinaudojus Solo Pateikta Automatinio Citavimo Priemone, Taip Pat Išryškėjo Galimas Trūkumas Pasikliauti Vien Technologijomis. Kiekviena Iš Šių Kalbų NeišvengiaMai Turi Savo Bibliographer Nuorodų Formavimo Konvencijas (Authoriai, Pavadinimai, Leidybos Informacija Ir T.), Kurių Ne Visas Automatis Citavimo įrankis Sugeneruoja. Akivaizdu, kad dar turiu daug ko išmokti, nes esu įsikūręs viename iš pagrindinių oksfordo Šiuolaikinių Kalbų ir lingvistikos mokslinių tyrimų centrų!

Viršuje: Eksponatų išdėstymo vitrinoje bandymas

VISAS PROCESAS TAIP PAP PARODZ, KOKIE NENUOSEKLūs ir Neišamūs Yra Kai Kurie Senesnių Bodlėjaus Bibliotekų Kolekcijų Ir Unikalesnių Eksponatų Catalogų Aprašai. BiblioTekininkams, Kuriems Tenka įveikti Tokį Didelį (ir vis didėjantį) Knygų, Žurnalų, Periodinių Ir Kitos Efemerijos Kiekį Visomis Kalbomis Po Saum, Tenka įveikti Nemenką Kalną.

Toliau Pateikiamas Vienas Ypatingai Vertas dėmesio Eksponatas:

Above: A copy of Dantes Divine Comedy, dedicated to the Empress Elisabeth Petrowna of Russia (daughter of Peter the Great). Posted in Venice, Italy in 1757

It was wonderful to find such a striking connection between the history of the imperial Russia and Dante's life and work!

The second row of photos below shows the final layout of the individual showcases. The accompanying information about the works was still in preparation at the time of the admission, but a feeling for the variety of pictures and the continuing influence of Dantes work on artists, writers, printer and publisher all over the world can already be seen. Students, lecturers and employees of the entire university are cordially invited to attend the exhibition in the Taylorian during the opening hours of the library, from the beginning of the Michaelis semester until December 2021. See: Ashmolean Museum (September 17, 2021 - January 9, 2022) and Weston Library (September 8, 2021 - November 14, 2021), who are interested in everyone who is interested in life, history and influence of Dante offer to explore the further collections of the university.

2021 m. Rudenį Planuojami Kiti Oksfordo Dantės Renginiai - Nuo concertų iki filmų peržiūrų, paskaitų ir (Žinoma!) Bent vienos Knygos, Skirtos 70 0-OSIOMS METINOMS PAMINIMAS, pristathymas.

Dabar, Kai Jau Susipažinome Su Tuo, Kaip Sudseta Rengti, Saugoti Medžiagą iš mūsų įspūdingų dantės Kolekcijų, Galimybė į Akį Susipažinti Su Šiais Eksponata Skamba Tarsi Pats Rojus!

Jei norite daugeau sužino apie su dante susijusius oksfordo rinkinius, peržiūrėkite ankstesnius taylorian tinklaraščio įrašus Šia tema (nuorodos pateikiamos toliau):

Malcolm L. G. Spencer

Stažuotoja, partial instituto Bibliota

Like@sac! TARPTAUTINę Moters Dieną - Virtuali Knygų Ekspozicija - Moterys Oksforde 1920-2020 m.

Paskelbta 1920 05 12/05/2020 by Vandenbergc

The International Women's Day, a day dedicated to celebrating women's performance and challenging stereotypes, has been marked on March 8 each year since the start in 1911. Organizers of International Women's Day describe the day as "an opportunity to reflect on progress, encourage change and change Celebrate ordinary women's courage and determination, who have played an extraordinary role in the history of their countries and society. " [The struggle for women's gender equality continues in the UK and around the world, and events such as International Women's Day show how important it is that women and girls can reach their full potential and contribute to all areas of our society. Each year, the organizers of International Women's Day choose a theme as a banner under which everyone's efforts can be channeled and united. This year is the theme of Am Generation Equality: Realization of women's rights. This theme is in line with UN Women's new multi-generation campaign, Generation Equality: Realizing Women's Rights for An Equal Futur E, which marks the 25th anniversary of the Beijing Declaration and the Most of Action Plan, the most progressive road map to strengthen women's and girls' positions everywhere. [2]

Image: Katherine Hanlon, Unsplash

2020. Gadā Starptautiskā Sieviešu Diena Iezīm correct

“Vienlīdzīga Pasaule Ir insp correct. Mēs Katrs individualuāli esam atbildīgi pair savām domām unsvīcību - visu dienu, katru dienu. Mēs Varam Akdrvi Izvēlēties apstīdēt stereotipus, cīnīties pretizspriedumiem, paplašināt priekšstatus, uzlabot situāciju unsvinēt sieviešu sasniegumus. Kolektīvi Ikviens No Mums was Palīdzēt Radīt Dzimumu Līdztiesības Pasauli. Būsim Visi #Achforequal. " [3]

At quot: Logan Isbell, Unsplash

2020. Gadā Aprit Arī 100. Gadadiena Kopš Vēsturiskas Sieviešu Uzvaras Oksforda's Universitātē: 1920. Gadā Minterja-Anna Henlija Bija Pirmā, Kas Saņēma Grādu Šeldona Teātrī. Lai Atzīmētu Šo Simtgadi un Godinātu Sieviešu eguldījumu Oksfordā, Universitāte Uzsāk Kampaņu "Sieviets Veido Vēsturi": Oksfordas Grādu Sievui Sieviet 100 Gadi:

"Simtgade Sniedz iSpespettez Izvērt mt Mūsu Panākumus Sieviešu Izgress Veecināšanā un dzimumu lalityztiesības un daudzveidības Veecināšanā."

Kā norādīts arī tīmekļa vietnē:

Women Making History will shine a spotlight on the diverse women who have contributed to the University of Oxford, as well as the women shaping the future of the University today. Over the coming months, we will explore the stories of Oxford women as scientists, students, researchers, academics, clinicians, technicians, librarians, archivists, activists, artists and much more. If you know of a story about an Oxford woman that you think should be told, please join the discussion by using the hashtag #womenatoxford.” [4]

To celebrate International Women's Day - and to mark the centenary of Oxford's undergraduate courses for women - members of the Sackler Reader Services team have put together a virtual book exhibition. (Unfortunately, the visibility of the physical book exhibition has been limited by Covid-19 closures). At the end of this blog post you will find a list of links to various electronic publications available through SOLO that focus on the achievements of women in the fields of archaeology, art, architecture, classics, and Egyptology - some of the Sackler Library's collection focuses.

Neteisinga manyti, kad tarp žymiausių klasikos veikėjų beveik nėra moterų. Žinoma, yra graikų poetė Sapfo. Pasirinkome rodyti Nancy Rabinowitz ir Lisos Auanger knygą “Tarp moterų” , kurioje daugiausia dėmesio skiriama Sapfo poetinei kūrybai ir erotinei tematikai. Niekada negalime kalbėti apie svarbiausias klasikinės literatūros moterų figūras, nepaminėję Hypatijos and Aleksandrijos, kurią aptaria Dora Russell. Sulpicijos eilėraščiai yra retenybė. Palyginti su kitų romėnų moterų kūriniais, Sulpicijos kūryba isliko nesugadinta, o ne fragmentiškai. Šeši jos eilėraščiai įtraukti į Augusto poeto Tibulo poetijos corpusą, kurio vertimas pateikiamas mūsų parodoje. Besidomintiems recepcijos teorija Jameso Donaldsono knygoje “Moteris” moterų padėtis klasikinėje ir ankstyvojoje krikščioniškoje visuomenėje nagrinėjama per Edvardo laikų Didžiosios Britanijos akademiko vyro prizmę.

Pieere Olivier Joseph Coomans, Sapfo prie Mitylenės, 1876 m. (vaizdas: Wikimedia Commons)

«Vi kan kvinners biddra does not cover Egypt, det, so many can't be done, but you can't have a quinner. Mary Hamers Signs Of Cleopatra and Dorothea Arnolds Royal Women. Et bearmarks are open to many people who have been able to do so many delicious people. You can use 21 years of reforming, but you can't activate bleeding activations and beneath your own.

Artemisia Genilechi, Judith Halshugar in Holiferne, av Artemisia Genilechi (Napoli, Museo di Capodonmonte), 1612-13 (Bilde: Wikimedia Commons)

Džiugu, yrah motherų yra irriet Reprezent song, meno pasulio sculptures, Linda Nochlin („Why There has no greets wormist“, 1971 ) ir Greeld Pollock, an athreipė This is the problem. Meno judėimi ir menininkės vizijas in terms of the body, the map of the most meno kūrinius, Meno Laimi, tokių's prevalence, Artemisia Genilesi (Arte and Artias Arby. Image Laicotarpiu Burey to Past sėkmingos kip ir jžori. Taižia mums are the most important pregnancy in the morning in the moody of the meninine, in the field of penalty. Taip galim covoti tai, if you're a priip- tional archyvous library, a new library, a kurio Ironic Meno Pasaulio, a pavyzdžie, Jenny Saville , curios of personnel-maintaining the parodat JK puppet-insttitude institutionalized by the Oksford modern base. Tolia tyrin tyrin tyrin monkeys. row

The discussion about women's contribution to the architectural field is a more complicated discussion. Compared to the progress made in the art world, architecture is much further behind in the recognition of female figures. There are few female architects in the architectural history books that are praised in the same way as their male colleagues, which raises the question: What historical examples do we have, if any, in women in the world of architecture? Women's presence in architecture was often suppressed, as was the case with Annie Alber, who did not study architecture at Bauhaus (who believed that architecture was a pure male profession) and who instead began to weave. Her work is known for her architectural qualities and the innovation she brought into the tissue technique, which shows that her interest in architecture and space could not be erased. (See, for example, her exhibition at Tate Modern in 2018-2019).

Then Frauen in der Architecture in der foxheit kaum in erscheinung getreten sind, ist es schwierig, the Qualitäten der Architonischen Praxis Zu Würdigen, Die Als "Weiblich" Anerkannt Werden. Obwohl Eine Vielzahl von Büchern über die überschneidung von feminismus und Architectur Geschieben Wurde, Darunter Schlüsselwerke, Die Einen Grundteil der Grundlage der Geschlechtssspezifischen Architect Leii. B Frauen Haben Oft Darum Gekämph, in der Architecture Record Zu Werden, was zu them controversy problem geführt hat, dass sie es vorziehen, sich nicht als "architectin" oder. Dies Gilt Insbonde Für Erfolreiche Architektinnen: Sie Wollen Nicht, Dass Ihr Titel Als Architectin Geschlechtssspezifisch ist. Dies Wird in Francesca Hughes' The Architect: Reconstructing Her Practice, juniper where Wenigen Monography, Die Die Arbeit von Architektinnen Würdigen. Es ist davon auszugehen, dass architectin glaubten, sie würden ivs gleichberechtigt Angesehen und treated wern, wenn sie jeden Hinweis auf ihr geschlecht wegließen. So Gut Gemeint Dies Auch Sein Mag, so ist es doch a Hebel, um die geschichte der frauen auszulöschen und die problems und Erfahrungen, die frauen aufgrund where geschlechtssspezifischen discriminatorung in diesem beruf gemiens berufen.

Buchdeckel: Maggie Toy, hrsg. Die Architectin: Frauen in der Zeitgenössischen Architectur (2001)

This can also lead to questions about the privilege of the contributors not to have experienced discrimination; And to the conviction that other stories do not exist or that gender is no problem. The publication The Architect: Women in Contemporary Architecture, edited by Maggie Toy, is an important source about women in architecture, but the women in question objected to possible titles for the book as "The Female Architect". The best thing they could do to give a nod to the representation of women was the subtle adjustment of the Venus sign in the title on the cover of the book.

Venus symbol (image: Wikimedia Commons)

Despite the problems that have been raised, it is important to recognize the performance of the feminist movement in the areas collected by the Sackler Library. We hope that at the end of this message the literature list gives a minor insight into what has already been achieved.

Norite daugiau sužinoti apie moterų irstemy ir lyčių studias, 2020 m. Vasarį ir kovą bodleian biuteikė bandomąją prieigą prieiig įvairių susijusių biemjektų ų ų ų ų ų ų ą ą ą ą ety ų Anthropologijos Ir Archeologijos Temos Bibliotekininkė Helen Worrell Vadovaujamo Projekto ' Championing Inclusive Collection Development ". Bandymų Metu Buvo Galima Nudotis Šiomis Duomenų Bazėmis, O prie Vienos iš Jų Laikinai pratęsame priestigą. Sprendimą Dėl Bet Kurios Išių Duomenų Bazių įSigijimo (Atsižvelgiant į Skaitytojų Atsiliepimus) Ruošiamasi Priimti.

Tikimės, Kad Jums Patiks Naršyti po Šią nedidelę Mūsų kolekcijų rinktinę, Ir Tikimės, Kad Praleis site Šiek Tiek Laiko Prisimindami "Moterys Oksforde 1920-2020 m.".

Chloe BolSover, Bibliotekos Absolvent absolvent Stažuotoja Katherine Day, Bibliotekos Asistent Tent McNulty, Bibliotekos Absolventė Stažuotoja Caroline Walsh, Bibliotekos Asistentė

Nuorodos

Duomenų Bazių Bandymai

Moterys IR Socialiniai Judėjimai, Tarptautiniai

Through the writings of activists, their personal letters and diaries, and the minutes of conferences where important decisions were made, this collection allows you to see how women's social movements shaped much of the events and attitudes that define modern life. This digital archive includes 150, 000 pages of conference proceedings, reports of international women's organizations, publications and websites of women's non-governmental organizations, and letters, diaries, and memoirs of women active internationally since the mid-nineteenth century. It also includes photographs and videos of key events and activists in the history of international women's social movements.

Archive of Women's Magazines 1 & amp; 2 TEMPORARY ACCESS EXTENDED Women's Magazine Archive 1 bidt toegang tot de complete archives van de belangrijkste titles van this type, waaronder Good Housekeeping en Ladies' Home Journal, which serve as canonieke verslagen van changing aannames about genderroles en culturele zeden. Other titles are directed towards the better onderwerpen, maar leveren good broninhoud voor specifieke otherzoeksgebieden. Parents are bijvoorbeeld bijzonder relevant for onderzoek on the area of ​​opvoeding, psychology and gezondheid of children and which reflects other social-historical trends. Women's Magazine Archive 2 has a large number of celebrities, hoog-circulerende and long-running publicaties on this area, including Woman's Day in Town & amp; Country. Collectie 2 is really also an aanvulling op the first collection from grandchildren titles op te nemen die zich judges op a specific publication and specific topic's. Cosmopolitan en Seventeen zijn bijvoorbeeld court op a young reader's publiek, terwijl de concerns of black women have been defended by Essence. Women's International Network News is a political, activist title with an international dimension. Onderwerpen die in deze collections aan bod komen zijn other gezinsleven, huishoudkunde, gezondheid, carrières, fashion, cultuur en nog veel meer; This material serves several different areas, gender studies, social differences and art to the world, politics and marketing/media differences.

Archief Vrouwenstudies

The Archive for Women's Studies: Issues and Identities focuses on the social, political, and professional achievements of women in the nineteenth and twentieth centuries. In addition to a closer look at some of the pioneers of women's movements, this collection offers scholars a deep dive into the issues that have influenced women and the many contributions they have made to society.

International Women's Day - Virtual Book Launch: A Selection of E-Books in Oxford

Aceves Sepúlveda, G., 2019. Women Made Visible: Feminist Art and Media in Mexico City After 1968.

Anderson, J. & amp; Huneault, K., 2012. Rethinking Professionalism: Women and Art in Canada, 1850-1970.

Arnold, D., Allen, J. P. & amp; Green, L., 1996. The Royal Women of Amarna: Images of Beauty from Ancient Egypt. Ashton, S.-A., 2008. Cleopatra and Egypt.

Battista, K., 2019. New York New Wave: The Legacy of Feminist Art in Emerging Practice.

Battista, K., 2019. Renegotiating the Body: Feminist Art in 1970s London.

Betterton, R., 2019. Unframed: Practices and Politics of Women's Contemporary Painting.

Broude, N. & Garrard, M. D., 2018. The Expanding Discourse: Feminism and Art History.

Butler, J. 1999. Gender Trouble: Feminism and the Subversion of Identity.

Christiansen, K. et al., 2001. Orazio and Artemisia Gentileschi.

Dabakis, M., 2014. A Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome.

Deffebach, N., 2015. María Izquierdo and Frida Kahlo: Challenging Visions in Modern Mexican Art.

Dekel, T. 2013. Gendered: Art and Feminist Theory.

Dirgantoro, W., 2017. Feminisms and Contemporary Art in Indonesia: Defining Experiences.

Rodomos Knygos

Donaldson, J., 1907. Woman; her position and influence in ancient Greece and Rome and among the early Christians.

Fanghanel, A., 2019. Disrupting Rape Culture: Public Space, Sexuality, and Revolt. Greene, E., 1996. Reading Sappho: Contemporary Approaches.

Hamer, M., 2014. Signs of Cleopatra: The Historical Reading of an Icon.

Heynen, H. & amp; Baydar, G., 2005. Negotiating Domesticity: Spatial Productions of Gender in Modern Architecture.

Horne, V. & amp; Perry, L., 2019. Feminism and Art History Today: Radical Critiques of Theory and Practice.

Iōannou, Kyriakidou & amp; Christiansen, 2014. Female Beauty in Art: History, Feminism, Women Artists.

Isaak, J. A., 1996. Feminism and Contemporary Art: The Revolutionary Power of Women's Laughter.

Kelley, L., 2019. Bioart kitchen: art, feminism and technoscience.

Kleiner, D. E. E., 2005. Cleopatra and Rome.

Kokoli, A. M., 2016. The feminist uncanny in theory and art practice.

Liss, A., 2009. Feminist art and the maternal.

Martin, B. & amp; Sparke, P., 2003. Women's places: architecture and design 1860-1960.

Meskimmon, M., 2003. Women making art: history, subjectivity, aesthetics.

Miles, M. M., 2011. Cleopatra: a sphinx revisited.

Murray, E. & amp; Varnedoe, K., 1995. Elizabeth Murray, Modern Women: The Museum of Modern Art, New York, June 20–August 22, 1995.

Nochlin, L., 2018. Women, Art, and Power: and Other Essays.

Pollock, G., 1999. Differentiating the Canon: Feminist Desire and the Historiography of Art.

Pollock, G., 2003. Vision and Difference: Feminism, Femininity, and the History of Art.

Rabinowitz, N. S. & amp; Auanger, L., 2002. Among Women: From the Homosocial to the Homoerotic in the Ancient World.

Rendell, J., Penner, B. & amp; Borden, I., 2000. Gendered Spatial Architecture: An Interdisciplinary Introduction.

Reynolds, L., 2019. Women artists, feminism and the moving image: contexts and practices.

Richlin, A., 2014. Arguments with Silence: Writing the History of Roman Women.

Robinson, H. & amp; Buszek, M. E., 2019. A companion to feminist art.

Roehrig, C. H., Dreyfus, R., and Keller, C. A. 2006. Hatšepsuta: No karalienes līdz faraonam.

Roller, D. W., 2010. Cleopatra: a biography.

Russell, D., 1976. Hypatia: or, Woman and knowledge.

Sappho, Rayor, Diane J. & amp; Lardinois, A. P. M. H., 2014. Sappho: jauns visu darbu tulkojums .

Shonfield, K., 2000. Sienām ir jūtas: arhitektūra, filma un pilsēta.

Skelly, J., 2020. Radical decadence: excess in contemporary feminist textiles and craft (Radikālā decadence: pārmērības mūsdienu feminisma tekstilmākslā un amatniecībā).

Solomon-Godeau, A. & amp; Parsons, S., 2017. Fotogrāfija pēc fotogrāfijas: dzimums, žanrs un vēsture.

Souter, G., 2015. Frida Kahlo: zem spoguļa.

Walsh, M. & amp; Throp, M., 2019. Žurnāla MAKE divdesmit gadi: atgriešanās sieviešu mākslas nākotnē.

Wark, J., 2006. Radical gestures: feminism and performance art in North America (Radikāli žesti: feminisms un performances māksla Ziemeļamerikā).

Gaidām mūsu lasītāju ierosinājumus par turpmākajiem bloga ierakstiem. Yes vēlaties ierosināt tēmu, lūdzu, sazinieties ar Klāru Hils-Novu (Clare Hills-Nova, clare. hills-nova@bodleian. ox. ac. uk) and Šantalu van den Bergu (Chantal van den Berg, chantal. vandenberg@bodleian. ox. ac. uk).

Posted in Grāmatu displejs, Like @ Art! Tagged with Grāmatu displejs, Starptautiskā sieviešu diena Like @ Sac! Book Display: LBGT+ vēstures mēneša atzīmēšana Saklera bibliotēkā

Posted at 13/02/2020 to Vandenbergc

In February, the United Kingdom marks the LGBT+ History Month, which aims to educate people on the achievements of LGBT+ identified people and promote their recognition, as well as their contribution they have given and continues to provide to the public. Lesbian, gay, bisexual, transgender, queer and asexual, as well as other groups of genders, sexual and romantic minorities have been represented in art, science and everyday life from ancient times to the present. The Sakler Library has chosen to celebrate the rich history and diversity of the LGBT+ community by exhibiting books highlighting the investment of LGBT+ people in the field of study within the competence of the Sakler Library.

The exhibition is located on the ground floor of the Sakler Library. Credit: Erin McNulty

IM Bereich der Klassischen Literatur Wird in Unserer Ausstellung Das Werk von Sappho Hervorgehoben, Z. B. in Rayor und Lardinois' Sappho: A New Translation of the Complete Works (2014). Sappho War Eine Moditive Lyrische Dichterin Aus der Archaischen Griechischen Epoche [1]. Ihre Gedichte Waren in Der Gesamten Antique Bannt und Wurden Sehr bewundert, und sie gehörte zum kanon der neun lyrischen dichter, Die von den Gelehrten des Hellenistischen alexandria am Master Geschätz Sie ist Auch Gegenstand Einiger Wissenschaftlicher Debatten, Aber Unter Modern Gelehrten ist Man Allgemein der Meinung, Dass ihr Werk Beweise Für Die Liebe und das Begehren Zwischen Frauen Darstellt [2]. Tatsächlich Leitet Sich Der Moderne Geka Jābis Wortes "Lesbisch" von demen ihrer heimatinsel lesbos ab.

Wir Können Auch Die Beiträge Von LGBT+-Personal Auf Dem Gebiet Der Ägyptologie Sehen, und zwar dourch amelia edwards' a thousand miles up the nile, Einen 1877 Veröffentlichten Bestseller-Reisseebert. Die 1831 Geborene English SchriftStstellerin, Journalistin und Reisende Leistete Einen Wichtigen Beitrag Zur Ägyptologie und War Mitbegründerin Des Egypt Exploration Fund Im Jahr 1882 [4]. Sie War Auch Die Gründerin des Edwards-Lehrstuhls für ägyptologie am University College London. Edwards Starb 1892 An Einer Grippe und Wurde Neben Ihrer LebensGefährtin Ellen Drew Braysher will end. IM Jahr 2016 Wurde IHR Grab in Bristol von Historic England Als Denkmalgeschützt (Grade II) Eingestuft und als Meilenstein der englischen LGBT+-Geschichte Gefeiert [5].

Joseph Bonomy. Entwurf für Einen Teppich Im Bowood House

The cover, an illustration and the signature of the author from an edition edition by Edwards' A Thousand Miles Up the Nile (Sackler Library, Special Collections) to view material from Special Collections, you can inquire with the Sackler Issue Desk image (and) Credit: Erin McNulty

We have also emphasized the relevance of LGBT+ studies for the study of architecture by including Betsky's Queer Space: Architecture and Same-Sex Desire (1997). This work discusses how the desire for the same sex creates a completely new design process. Vincent's LGBT People and the UK Cultural sector: The Response of Libraries, Museums, Archives and Heritage Since 1950 (2014) also specifically addresses LGBT+ influences in the library and heritage sector.

Image Credit: Erin McNulty

Artworks also form a substantial part of the collections of the Sackler. Both disciplines benefit greatly from the contributions of the LGBT+ community. Davis' Gay and Lesbian Studies in Art History (1994) gives an overview of this. We have also chosen to show art books that treat LGBTQ+ themes from earlier periods, such as Mills' Seeing Sodomy in the Middle Ages (2015), to the more modern, such as David Wojnarowicz: History Keeps Me Awake at Night and Robert Mapplethorpe: The Archive.

Zbiory Biblioteki Mogą Opowiadać Historię Społeczności, Takiej Jak Społeczność lgbt+, I zmieniają się wraz z nablewaniem nowych dzieł. Sposób, w Jaki Sackler, a branch Wiele Innych Bibliotek w Bodleian, opowiada in History, Zostanie poddany przeglądowi W Ramach nadchodzącego Projektu Changing the Narrative: Championing Inclusive Collection Development. Projekt ten, Prowadzony Przez Helrell, “Będzie Promował Zróżnicowanie Naszych Zbiorów W Bibliotekach I Humanistycznych, W Celu Wzbogacenia Zbiorwmed , studia nad ludnością rdzerną, studia nad czarnoskórymi, azjatami i mniejszościami ethnicznymi ( Bame) Oraz przecięcia między tymi tożsamościami. Umożliwi took to krytyczne myślenie o zbiorach, które obcnie posiadamy, branch Abymedi świadomi luk i narracji, jaką te zbiany opowiadają ”. [5] śledźcie blog SACKLER, Aby Dowiedzieć się więcej o Tym Projekcie, Lub Odwiedźcie Libguide, Aby Uzyskać Więcej Informacji.

Our book exhibition is also related to the topic of the LGBT+ History Month 2020, which was launched in the Pitt Rivers Museum in Oxford: poetry, prose and plays. We present works of all four authors presented: Dawn Langley Simmons' Man Into Woman: A Transsexual Autobiography (1970), E. M. Forsters Collected Short Stories (1947), Lorraine Hansberrys A Raisin in the Sun (2011) and William Shakespeares Sonnets (edition of 1945). We also introduced the works of ancient authors such as Plutarch, Virgil and Petronius, of which some scientists today assume that they were LGBT+ [6]. Further information and resources can be found on the website of the LBGT+ History Month.

A picture of the exhibition that shows Shakespeare's Sonett 20, from which it was assumed that it was written about a man. Photo credits: Erin McNulty

We hope you enjoy browsing in the books that we offer in our display. However, this is only a small selection of resources that the sacker and the University of Oxford as a whole has to offer for everyone who is interested in LGBT+ studies. For example, the Queer Studies Network from Torch meets lectures, reading groups, seminars, workshops and events. The Bodleian Libraries are currently testing several information databases that are accessible via Solo, e. g. B:

Archieven Over Sacsualiteit en Gender (Gale Cengage)

Deze Bron Beslaat de Zestiende Tot Twintiest Eeuw En is de Grootste Digital Collectie van Historical Primaire Bron Publicaties Met Betrekking Tot de Geschichte en Studie van Seks, Sacsualiteit en genderonderzoek en gender studies. Documentatie Over Disciplines as Sociale, Politie, Gefondheids Juridic Kwesties Die vanVloed zijn op lgbt-Gemeenschappen Over de Hele Wereld is Inbegrepen, Evenals Zeldzame en unieke Boeken over seconds.

Archief van LGBT-Tijduschriften (Proquest LLC)

Bevat de Archieven van 26 toonaangevende Maar voorheen Moeilijk Te Vinden Tijdschriftungen, Waaronder veel van de Langstlopende, Meest Invoedrijke Publicaties in Dit Genre. Zo is het full backfile van de Americaanse Publicatie the advocate, een van de Weinige LGBT title the Dateert van voor de Stonewall Rellen van 1969, voor het eerst digitaal. Other titles Zijn Gay News Uit Het Verenigd Koninkrijk en de opvolger Daarvan Gay Times.

LGBT LIFE full Tekst (Ebsco)

Offers full-text academic and popular LGBT+ publications, as well as historically important primary sources, including monographs, journals and newspapers. It also includes a specialised LGBT+ thesaurus with thousands of terms, more than 140 full-text journals, nearly 160 full-text books and reference works, more than 260 abstracted and indexed journals, and more than 350 abstracted and indexed books and reference works.

Don't miss other LGBT+ projects at the University of Oxford either! Pitt Rivers Museum's Beyond the Binary project, launching this month, works with local, national and international partners to explore the global diversity of sexual and gender identities. The project will challenge historical interpretations of the museum's collections to enable all visitors to better understand humanity. It will also include a community-focused acquisition program for LGBT+ cultural and historical artefacts. It collects objects from British communities and from around the world, highlighting traditions of gender conformity and bringing British LGBT+ heritage into conversation with global LGBT+ material culture.

We hope you will join us in celebrating LGBT+ History Month and having a fantastic February!

Erin McNulty, graduate librarian

References

[1] Campbell, D. A. (ed.) (1982). Greek Lyric 1: Sappho and Alcaeus (Loeb Classical Library No. 142). Harvard University Press, Cambridge, Mass.

[2] Rayor, Diane; Lardinois, André (2014). Sappho: A New Translation of the Complete Works . Cambridge: Cambridge University Press.

[3] Rees, Joan (1998). Amelia Edwards: Reizigster, romanschrijfster en egyptologe . London: Rubicon Press.

[4] 'Queer history' monuments gevierd door Historic England”. BBC News. September 23, 2016. Retrieved September 24, 2016. [6] Claude J. Summers, ed., The Gay and Lesbian Literary Heritage: A Reader's Companion to the Writers and Their Works, from Antiquity to the Present (New York: Henry Holt, 1995).

Bibliography Benson, M., 1901. The aim of one cat and other behavior. London.

Betsky, A., 1997. Queer space: architectuur en demands van hetzelfde geslacht, New York.

Boehringer, S., 2007. L'homosexualité féminine dans l'antiquité Greek et Romaine , Paris.

Breslin, D., Kiehl, D., & amp; Wojnarowicz, D. (2018). David Wojnarowicz: History Keeps Me Awake at Night.

Cook, M. & amp; Oram, A., 2017. Vooroordelen & amp; trots: the four of LGBTQ-achieved, Warrington.

Davidson, J. N., 2007. The Greek and Greek love: a radical replical or homosexuality in ancient Greece, London.

Davis, W., 1994. Homo and lesbian studies in the art divorce , New York.

Dedichs, H. & amp; Butin, H., 2013. The Queens of Warhol . Ostfildern.

Dover, K. J., 1978. Greek homosexuality , London.

DuBois, P., 2015. Spho . London New York.

Edwards, A. B., 1982. Diseing miles the Nile on . London.

Forster, E. M., 1947. Collected short move from E. M. Forster. London.

Hansberry, L., 2011. A raisin in the sun. London.

Horace & amp; Bennett, Charles E, 1960. The Oden and Epods. London.

Mapplethorpes, R., Martineau, P., & amp; Salvesen, B., 2016. Robert Maplethorpes: the photos , Los Angeles.

Mapplethorpes, R., Terpack, F., Brunnick, M., Smith, P., & amp; Weinberg, J., 2016. Robert Mapletorpes: The archive , Los Angeles.

Meyer, R., 2003. Outlaw representation: censorship & amp; homosexuality in twentyth-century American art , Boston.

Mills, R., 2015. Sodomen are in the Mediterranean , Chicago.

Parkinson, R. B., 2013. A scared gay history: desirs and diverseity across the worship , London.

Pettronius Arbiter & amp; Brown, Andrew, 2009. Satyricon. Richmond.

Rodomos Knygos

Spfo, Rayor, Diane J. & amp; Ladinois, A. M. M. H., 2014. Sappho: and ny oversettel philosophal explore the sam members . Cambridge.

Rorato, L., 2014. Caravagaggio i movie og-risks: populækullactures appr leg et bark genius , London.

Rothbauer, P. Locating the library as place among lesbian, gay, bisexual, and queer patrons, i save. Buschman, J., & amp; Leckie, G. J., 2007. The library as place: hisstory, Community, and cultures, Westport; London.

Shakespeare, W. & amp; Bullen, A. H., 1945. The nounts or William Shakespeare. Oxford.

Simmons, D. L., 1970. Men lifting slim: and transsexull serial serial. London.

Site, J. T., Brown, D. A., Joannides, P., The Groft, A., Rogers, M., & amp; Bisgnoro, C., 2015. Leonado dancies of ox idea for skjønnhet, Williamsburg, Virginia.

Vicinus, M., 2004. Intimate fan: arriving sum elt elt elcuit, 1778-1928. Chicago.

Boehringer, S., 2021. Female Homosexuality in Ancient Greece and Rome , trans. Preger, A., London.

Defending, Dryden, John & amp; Keener, Frederick M., 1997. Virgil's Aenenid. London.

Warhol, A., Felman, F., & amp; Defendi, C., 2003 . Andy Warhol prints : a catalog raise: 1962-1987 , New York.

Wasserman, N., 2016. Akkadian Love Literature of the Third and Second Millenniums BCE . Weisbaden.

Weinberg, J., 1993. Speaking for Vice: Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde . New Haven; London.

Dowson, T. A., World Archeology, Oct. 2000, Vol. 32 (2), “Queer Archaeologies”.

Williams, C. A., 1999. Roman Homosexuality: Ideologies of Masculinity in Classical Antiquity . New York; Oxford.

Williamson, M., 1995. Sappho's and Mmortal Daughters . Cambridge, Mass; London.

Wojnarowicz, D., 2018. The Waterfront Journals . London.

We welcome suggestions from our readers for future blog posts. Please contact Clare Hills-Nova (clare. hills-nova@bodleian. ox. ac. uk) and Chantal van den Berg (chantal. vandenberg@bodleian. ox. ac. uk) if you would like to suggest a topic.

Like @Sac! It’s the season to read! Sackler Library’s Christmas Book Show

Published on 11/12/2019, by vandenbergc

The Sackler is getting into the holiday spirit, so we decided to host a book show to celebrate the holidays. We’ve used books from different areas of our collection to illustrate the connections between our ancient past and how we celebrate Christmas and other winter holidays today.

Photo: Tampilan buku yang dipasang di Perpustakaan Sackler. Kredit Gambar: Erin McNulty Festival pertengahan Musim dingin telah dirayakan di Eropa Barat dan sekitarnya setidaknya sejak periode Neolitikum. Situs-situs arkeologi di Inggris dan Ireland dapat menunjukkan bukti bahwa perayaan semacam itu telah berlangsung, salah satu yang paling terkenal adalah Stonehenge, di Wiltshire, yang dibangun dari sekitar tahun 3000 SM hingga 2000 SM. Cari tahu lebih lanjut tentang Stonehenge dengan membaca Stonehenge Complete karya Chippindale (1983; cetakan ke-4, 2012). Ada banyak teori tentang mengapa Stonehenge dibangun, namun bukti terbaru mengisyaratkan bahwa Stonehenge merupakan tempat berkumpulnya sebuah festival yang diadakan sekitar titik balik mataharimusim dingin (21 Desember). Hal ini karena batu-batu tersebut disusun sedemikian rupa sehingga matahari saat fajar di titik balik mataharimusim dingin sejajar dengan lorong tengah, yang mengindikasikan bahwa situs ini mungkin telah berfungsi sebagai alat penunjuk waktu bagi nenek moyang kita.

The same goes for other places from the younger Stone Age, such as Maeshowe on the Orkney Islands and Brú Na Bóinne (Newgrange) in Ireland. The latter place is designed so that the morning sun for the first few minutes of winter solstice light up a carved spiral on the back wall of the chamber, and the significance of this spiral is still a mystery. The prenders of the Houses of the Gods (2017) explains more about the archaeoastronomic significance of such places.

Morelli, A., 2009. Roman Britain and the Classical Deities: Gender and Sexuality in Roman Art , Oxford.

It seems that this time of year has been important to people for a long time. It is therefore no wonder that many local traditions were incorporated into the Christmas celebration after the Christianity of the Roman Empire, such as the British/Irish Mid Winterfest or the Germans' hanging of Christmas decorations on the branches of the tree, traditions that we still celebrate to this day. Evans' Christmas is Coming (2009) explores the origin of some of our wintery party traditions.

Potvin, J., 2014. Bachelors of a different kind: queer aesthetics, material culture and the modern interior in Britain, Manchester.

The theme of Christmas has been and still is often explored in art. There are many iconic moments in the traditional Christmas story that Western artists have drawn inspiration from. According to the story, angels acted as messengers to announce the birth of the baby Jesus. Selby et al. The Angel Tree (2011) and Ward and Steed's Angels: a Glorious Celebration of Angels in Art (2005) present depictions of angels in art from ancient times to the present day. Similarly, the arrival of the Three Kings with gifts of gold, frankincense and myrrh has been interpreted by many artists, as detailed in Beer's The Magi: Legend, Art and Cult (2014).

Pictured: Selby et al. cover of the book The Angel Tree (2011). Image credit: Erin McNulty

The theme of the birth of Christ is also a frequent theme in Eastern European art. Die östlich-orthodoxe Kirche gibt es unter anderem in einige osteuropäischen Länder, Russland und Griechenland. Die Anhänger des östlich-orthodoxen Christentums feiern Weihnachten am 7. Januar, da ihr liturgisches Jahr dem Julianischen Kalender und nicht dem westlichen, Gregorianischen Kalender folgt. Im Sackler gibt es viele Bücher über Kunst, die die östlich-orthodoxen Traditionen widerspiegeln und von denen einige Weihnachtszenen zeigen zeigen. Wir haben uns zenziden, Bücher über die Kunst von Byzanz und Griechenland vorzustellen, wie z. B. Bratziōtē et al.'s Icons Itinerant (1994), das Kunst aus Korfu zeigt, und Petsopoulos' East Christian Art (1987).

Written on 12/14/2022 by jcopeland

People of Jewish faith celebrate CHANUKKA, which is also known as the festival of lights, between the end of November and late December. This festival is reminiscent of the r e-inauguration of the second temple in Jerusalem at the time of the Makkabean uprising against the Seleucid Empire during the rule of Antiochus in 175 BC. It is said that the little oil, which was still present in the looted temple, how a miracle burned the candles for eight days, while the temple was restored. The Jewish people celebrate this miracle with the gradual lighting of the Menorah as a sign of religious freedom. These religious artifacts can also have a high artistic value. Braunstein's Luminous Art (2004) shows the Menorah collection of the Jewish Museum in New York.

Shown: cover picture of Braunstein's Luminous Art (2004). Photo credits: Erin McNulty

Sea recentelijk Hebben de Festivititeiten Rond Kerstmis Ook Sea Seculing Van Feestvieren, Met de Stijgende Popularitit van figures as de Kerstman of de Americaanse Santa Claus, van like Wordt Dat hij children's cadeautjes brengt in the night voor kerstmis. Kerstvieringen Over de Hele Wereld Omfatten Vaak Zo'n Figuur, Zoals de Franse Père Noël of de Nederlandse Sinterklaas. De naam 'kerstman' zou zijn oorsprong Hebben in 'sint nicolaas', een van de figures who know the WE vandaag de dag in de loop the tijd is uitegroeid dead de vrolijke figuur. Sinterklaas was een bisschop uit de 4e eeuw en in de middeleeuwen children ter ere van hem cadeaus op de avond van 5 December, wat Mogelijk Heeft Bijdragen aan onze modern tradition van cadeaus geven. Sinterklaas travels Elk Jaar Met Zijn Helpers vanuit Spanje per stoomboot naar nederland, een Gebeurtenis the op de national televisie wordt uitgezonden. OP de Avond van 5 December Wordt Een Zak Met Cadeautjes Bezorgd Bij Goed Opgetevoede Children, en aan children Wordt Dat Slecht OpgeVoede Children in Een Zak Mee Terug naar Spanje. The Saint Who would be Santa Claus (2012) Throughout de Bijdrage van Verhalen over Sinterklaas aan het ontstaan ​​van de Moderne Kerstmanfiguur.

Tikimės, Kad Šį Gruodį Švęsite Bet Kokią Šventę, Jei Ką Nors Švęsite, ir tikimės, kad atostogos bus džiaugsmingos ir ramios, o į naujuosius metus sugrįšite kupini naujų jėgų. Smagiai praleiskite laiką apžiūrinėdami Knygų ekspoziciją, o Visi Saklerio Bibliotekos Lankytojai Sveikina Su Metų Laiku!

Erin McNulty Bibliotekos Absolvent release Stažuotoja

Nuorodos:

"Stounhendžas". Mokslas. 133 (3460): 1216-22.

"Stonehenge Druids 'Mark Wrong Solstice'". "The Daily Telegraph".

Jazombek, M. A Global History or Architecture. Cambridge, Mass., MIT. Online readings. Let's advised 28/11/19.

“Sí an Bhrú /Newgrangs”. logainm. ie.

O’Kully, M. J. (1982). Newgrang: Archeology, art and legends. London: Thames and Hudson.

“Oudd cemetery with 100 graves found near the Bible Bethlehem. LiveScience.

Miller, J. F. (2010). Roman Festivals. In “The Oxford Encycle dia or Ancyent Greece and Rome”. Oxford: OUP.

“The Santa: the real man behind the myth”. NBC News.

Erin McNulty, graduate librarian

Asmuses, H. (1955). Wethnights; Buchge Buchmaleree, just Zeit of Ottonians . Hamburg: F. White.

Bacci, M. (2017). The mystical cave: a divorce of the Birthal City in Bethlehem . Brno: Masary University; Roma: Viella.

Beckwith, J. (1966). The worship of the Benefit in whale . London: H. M. Stationery Off.

Beckwith, J. (1970). Early Christians and Byzantine art. Harmondsworth: Penguin.

Beer, M. (2014). The Weighs: legend, art, and cults . Keulen: Museum Schnütgen.

Boucher, B. et al. (2012). Bartolo d Fredi: The Office of Kings, a masterpiece reconstructed . Charlotteesville, Va.: University of Virginia Art Museum.

Bratziōtē, P. et al. (1994). Rodly Iconen: Corfu, 14th-18th century: Juni-September 1994, Church of St. Joris in the Oude Vesting, Corfu . Athens: Ministry of Culture, Directorate Byzantine and Post-Byzantine Outs.

Braunstein, S. L. (2004). Lighting art: Chanoeka merces of the Joods Museum. New York: Jewish Museum; New Haven; London: Yale University Press.

Braunstein, S. L. (2005). Fives, Chanoekalamps from the Joods Museum: a catalog raisonnnnnnnnn . New Haven, Conn.; London: Yale University Press.

Chippindals, C. (1983). Stonethenge Complete . London: Thames and Hudson.

Demus, O. (1970). Byzantine art and the west . London: Weidenfield and Nicolson.

Ebon, M. (1975). St. Nicolaas: Liven and legend. New York: Harper & amp; Row.

English, A. C. (2012). The saints who the Santa would be: it was alive and the trial of Nicolaas of Myra. Waco, Tex: Baylor University Press.

Evans, A. J. Christmas and ancestor worship in the Black Mountain.

Evans, M. (2009). Christmas is combine: the origin of our Christmas traditions and singles of the halls and legends empowered. Brighton: Pen Press.

Hamilton, R. W. (1939). A guide to Bethlehem. Jerusalem: Azriel Press.

Harvey, W. et al. (1910). That Geburt skir of Bethehea. Landon: accompanying im Ophtract all Founds of Fon B. T. Batsford.

Hodne, L. (2012). The virginity of the Virgin Mary: Marijinė iconography studio. Rome: Scienze E Lettere.

Kaster, R. A. (2011). Macrobius: "Indeed, how it was done and how it was done."

Kihlman, D. (2017). Bethlehem Star and Babylon Astrology: Astronomy and Revelation 12 to reveal what the magicians saw. Trollhättan, Sweden: Kihlman.

Lawson-Jones, M. (2011). Why was the mumps in a pear? History of Christmas Songs. Stroud: History.

Johnson, A. (2008). To solve the problem of Stonehenge: a new ancient riddle key. London: Thames & Amp; Hudson.

Matthews, J. (1998). Winter Solstice: Holy Christmas Traditions. London: Thorsons.

Miles, C. A. (1912). Christmas in rituals and traditions: Christian and pagan. London; Leipzig: Fisher Unwin.

Northrup, M. (1966). Christmas story from Matthew and Luke's Gospels. Greenwich, Conn: Metropolitan Museum of Art.

Petsopoulos, Y. (1987). Eastern Christian art. London: Axia.

Prendergast, K. (2017). House of Gods: Neolithic Monuments and Astronomy Brú Na Bóinne in Ireland and abroad. Saarbriukene: Lap Lambert Academic Publisher.

Rice, D. T. (1959). Byzantine art. London: Thames and Hudson.

Rockland, M. S. (1976). The Hanukkah Book. New York: Book of Dance Book.

Selby, L. H. et al. (2011). Drzewo Aniołów: świętowanie Bożego Narodzenia w Metropolitan Museum of Art: College Loretta Howard XVIII-WIESCZNICH NEROLITIZKICH FIGUREK żłobkowych. Nowy Jork, NY: Metropolitan Museum of Art: Abrams.

Scarre, C. (2007). Megalityczne Zabytki Wielkiej Brytanii i Kirlandii. London: Thames and Hudson.

Snyder, P. V. (1977). The Christmas Tree Book: The History of the Christmas Tree and Antique Christmas Tree Ornaments. Harmondsworth; New York: Penguin Books.

Tolkien, J. R. R. (2004). Letters from Father Christmas. Londyn: HarperCollins.

Tyndale, W. (1996). Średnioowieczne Boże Narodzenie. Londyn: Frances Lincoln Wespółpracy Z British Library.

Vasilakē, M. et al. (2000). Matka Boża: Przedstawienia Dziewicy W Sztuce Bizantyjskiej. Milan: Distributes; Nowy jork: Dystrybucja w ameryce północnej i ameryce łacińskiej przez abbeville.

Verdon, T. I Ross, F. (2005). Maryja W Sztuce Zachodniej. Nowy Jork: We Współpracy Z Hudson Mills Press.

Ward, L. I Steeds, W. (2005). Angels: A Glorious Celebration of Angels in Art. Londyn: Carlton.

Vikan, G. (2003). Święte obrazy i święta moc w bizancjum. Aldershot: Ashgate Varorum.

Ziadé, R. (2017). Chrétiens d'orient: 2000 Ans d'Histoire. Paris: Gallimard.

We welcome suggestions for future blog posts from our readers. Please contact Clare Hills-Nova (clare. hills-nova@bodleian. ox. ac. uk) and Chantal van den Berg (chantal. vandenberg@bodleian. ox. ac. uk) if you would like to suggest a topic.

Like @ Sac! Disability History Month 2019

Posted on 20/11/2019 by vandenbergc

Sackler Library Book Display

The theme for the UK's 2019 Disability History Month celebrations is 'Disability: Leadership, Resistance and Culture'. To explore some important questions raised by this focus, this reflection proposes three encouragements to promote teaching and student research in the history of disability: exhibitions of books held by the Bodleian Libraries in both the Sackler Library and the Continuing Education Library during Disability History Month (22 November to 22 December 2019); a presentation for the Disability History Workshop (Friday 22 November 2019, 9:00-13:00 in the History Department - all members of the University are welcome to attend the workshop and have lunch with us [please register here]); and an Oxford Reading Lists Online (“ORLO”) website that compiles digital links to scholarship and media on how the history of disability is evidenced through design, visual cultures and historical environments.

Book exhibition, Sackler Library. Until 22 December 2019. (Image: Erin McNulty)

As a historian of nineteenth to twenty-first century design, it would be presumptuous to extend my recommendations for aspiring researchers in the field of disability history beyond this period. Nevertheless, it is important to celebrate, as Peter White's BBC podcast series Disability: A New History, on the advice of Professor David Turner of Swansea University, is doing, the burgeoning field of historians who are looking at the documentation of medieval and early modern charitable institutions through the lens of disability history. Isabel Holowaty, History Librarian at the Bodleian, is working with colleagues in the history department on these earlier periods to develop a disability history research guide ('LibGuide') that covers a wider chronological framework.

Enabling Histories of Disability Design

Culture acts as both guidance and resistance. This discussion first looks at the engagement of disability activists as documented in oral histories and archives. This is followed by a brief foray into the rich historical research on objects and environments designed for people with disabilities to inform new research.

Primary Sources: Advocacy

J. Robert Atkinson, Grunnleggeren Av Universal Braille Press, Holder to Punktskriftbøker i Los Angeles, California, 1929. Los Angeles Times Fotigisamling, Department of Special Collections, Charles E. Young Research Library, UCLA

Three voices from the eighteenth and nineteenth century helped to determine the basic thematic of this meditation: William Hay MP (1695-1755), Thérèse-Adèle Husson (1803-31) and Hyppolite van Landeghem (Fl. 1860s). In his article titled 'On Deformity' (on deformity) of 1754, William Hay, Deputy of Glyndebourne and Christ Church, opposed the problematic equation between the moral virtue and physical health and beauty. Although Francis Bacon (1561-1626) used a disturbing contemporary 'deformity' terminology by referring to an earlier article, hay adopted his own physical difference as a 'advantage', because he mobilized his educational and sensitivity ability. Thérèse-Adèle Husson, the author of many children's novels, emphasized the importance of paying attention to the perspectives of creative self-advocates and capturing them. Husson's extraordinary autobiography Reflections' manuscript copy: The life and writings of a young blind woman in France after the revolutionary France were sent to the Director of Quinze-Vingts Blind Hospital in Paris in 1825 and from the Paris National Art and Vocational Conservatory Professor Zina was neglected by Weygand until it was recovered (Une Jeune Aveugle Dance La France du XIXE Siècle). Husson's testimony of living with disability in social turmoil and resistance environment was surrounded by Weygand and Catherine Kudlick of San Francisco State University and is available as e-book

These topics, such as the traits, practice and representation, also resonate in the archive tracks after the 20th century civil rights activists, who played an important role in securing the statutory requirements and commercial incentives that underlie design for the disabled. Edward V. Roberts (1939-95) commitment to ensuring equal intellectual and physical access to education and work was achieved through both civil disobedience and municipal council decisions that introduced university housing for disabled students, "curbs" throughout the road network and the creation of the first Center For Independent Living (Berkeley, California), all documented in the archives of the University of California in Berkeley. In the UK, Paddy Masefield OBE (1943-2012) is only one of many advocates documented in the National Disability Arts Collection and Archive (NDACA) at Buckinghamshire New University. His efforts as advisor to authorities and cultural institutions led to groundbreaking apprenticeship and employment initiatives, as well as to the establishment of influential and profitable annual prices to promote creativity for the disabled. The Masefield Prize promotes "outstanding communication through art by a disabled person".

Newer Scholarships: Stories of Design for Disabled

"Accessible Icon" Pertarkyta Kartu Su Savęs Gynėjais Timas Fergussonas Sauderis, Brianas Glenney Ir Sara Henden 2009-11 http://accessibleon. org/

Garsūs Dizaineriai Ir įTakingos Kultūro Institucijos įvairiais Būdais Dalyvavo curian dizainą neįgaliesiems. San Diego University Profesoriaus Davido Serlino (David Serlin) 2014 m. Tęstinio Mokymo Department Sušauktos Kasmetinės Dizain Modernism) vodcast'e užfiksuotos neįgaliųjų Historijos perspektyvos Irvejų Analizės, Kurios Daugumoje Universityų Mokymo Programų Show Dar Retai Nagrinėjamos. Kaip Dažnai Moderniosios Architektūros Estoryjoje Minimas 1948 m. Keneto Ir Phyllis Laurentų Užsakyta's Franko Lloydo Wrighto (Frank Lloyd Wright, 1867-1959) PRIEINAMA's USONIJINIS-HINIKIKLINI?

Objectai ir parodos

Showing the work of the disabled practitioners can not only enhance their abilities, but also make them shame. The artistic works of psychiatric patients collected by the artist and psychiatricist Hans Princezan (1886-1933) at the University of Heidelberg were not only respected by the surrealist circle, but also vilified Essence Learning from Madness from her "Learning from Madness: Kaira M. Cabañas of the University of Florida in her" Learning from Crazy: Brazil Modernism and Global Contemporary Art "revealed during this war period, Psychiatrist Osório César (1895-1979) and NISE DA Silveira (1905-99), and art critic Mário Pedrosa (1900-81) to advocate their disciplines through cooperation and exhibition of art works in Brazil's mental patient patients to advocate their disciplines The generation relationship between the "Independent Life Design" exhibition held in the Modern Art Museum in 1988 brought more audiences in the design of innovative disabled people in Navia, the United States, and the United Kingdom. The exhibition "Children's Century: The Growth Designed in 1900-2000" exhibition shows the special education system designed by Friedrich Fulbel (1782-1952) and Maria Montessori (1870-1952). The core teaching toy. The complex relationship between difficulty in reading difficulties, language barriers and ethics has just been revealed. The artistic works of the psychiatric patients collected by Hans Polinson (1886-1933) at the University of Heidelberg were not only respected by the surrealist circle, but also vilified at the Nazi Fallen Art Exhibition in 1938. Learning from Madness: Kaira M. Cabañas, the University of Florida, revealed in her book "Study in Crazy: Brazil Modernism and Global Contemporary Art", during this war, psychiatrist Osório César ( 1895-1979) and NISE DA Silveira (1905-99) and art critic Mário Pedrosa (1900-81) how to advocate the generating relationship between their disciplines through cooperation and exhibition of art works of Brazilian mental patients to advocate their disciplines The "Independent Life Design" exhibition held in the Modern Art Museum in 1988 brought more audiences in Nakaka, the United States, and the United Kingdom. The growth of the growth of the 1900-2000 "exhibition showed the core teaching toys designed by Friedrich-Fulbel (1782-1952) and Maria Montessori (1870-1952). Just as the researchers interviewed by Chris LEDGARD in 2015 BBC podcast "The Art of Walking Into Doors" in 2015, as pointed out by researchers and participants in the Royal Academy of Arts, the recitation difficulties and language in the three-dimensional design are difficult and language. The complex relationship between obstacles and ethics has just been revealed. Showing the work of the disabled practitioners can not only enhance their abilities, but also make them shame. The artistic works of psychiatric patients collected by the artist and psychiatricist Hans Princezan (1886-1933) at the University of Heidelberg were not only respected by the surrealist circle, but also vilified Essence Learning from Madness from her "Learning from Madness: Kaira M. Cabañas of the University of Florida in her" Learning from Crazy: Brazil Modernism and Global Contemporary Art "revealed during this war period, Psychiatrist Osório César (1895-1979) and NISE DA Silveira (1905-99), and art critic Mário Pedrosa (1900-81) to advocate their disciplines through cooperation and exhibition of art works in Brazil's mental patient patients to advocate their disciplines The generation relationship between the "Independent Life Design" exhibition held in the Modern Art Museum in 1988 brought more audiences in the design of innovative disabled people in Navia, the United States, and the United Kingdom. The exhibition "Children's Century: The Growth Designed in 1900-2000" exhibition shows the special education system designed by Friedrich Fulbel (1782-1952) and Maria Montessori (1870-1952). The core teaching toy. The complex relationship between difficulty in reading difficulties, language disorders and ethics has just been revealed.

Sackler Library also contains exhibition catalogs that show the lively presence of artists and museum audiences with disabilities worldwide. The blin d-up cover of the bilingual catalog for the exhibition Sculpture for the Blind at the South African National Gallery in Cape Town in 1969 and the exhibition Please Touch: Animal Sculpture at the British Museum in 1983 are examples of how curators and museum formulated in under Groups in society. The confirmation of the word "Unlimited" in the title of exhibitions at both Edinburgh City Art Center in 1981 and at the Southbank Center in 2012 signals institutional activism. Richard Sandells, Jocelyn Dodds and Rosemarie Garland-Thomson's thought-provoking anthology from 2010, re-presenting Disability: Activism and Agency in the Museum, deals with strategies to strengthen such cultural leadership through the museums' interpretation strategies and collections. The quiet activism of the 2018 Museum Benches project, developed by designer Shannon Finnegan, criticizes the limited accessibility that is actually offered in cultural institutions, and reminds us that much to do. Digital app projects such as "Lola", developed by Seth Truman and the ideal technology company Tech Kids Unlimited, engage with and for autistic children. In "House of Memories", the National Museum's Liverpool increases consciousness and creates collaboration networks between people with autism and autists.

While there is a canon of histories of designs for disability, scientific research has focused on the themes of symbolic representation, universal design and sensory history. In her book Designing Disability: Symbols, Space and Society, Elizabeth Guffey of the Purchase College, State University of New York investigated the graphic design and the historical significance of the 'International Symbol of Access'. Aimi Hamraia of Vanderbilt University in Nashville rated the theoretical and practical complexity of attempts to build according to the principles of 'Universal Design' ('Building Access: Universal Design and the Politics of Disability'). Graham Pullin from the University of Dundee (Design Meets Disability) investigated a series of design case studies for sense, mobility and communication. In their culture - Theory - Disability, Anne Waldschmidt, Hanjo Berressem and Moritz Ingwersen of the University of Cologne brought together the methodological challenge of calibrating social and cultural models of disability across the senses. Bess Williamson of the Art Institute of Chicago focused on how innovation in everyday industrial design was stimulated by accessibility activism in pos t-war America (Accessible America: A History of Disability and Design). Other book chapters and magazine articles included in my Orlo list offer interesting case studies of design typologies, from disabled and wheelchairs, hearing aids, 'talking' shellac plates, 'disabled' gi joe and barbie ...

Visuelle Kultur und Repräsentation

Vincent van Gogh (1853-90). Garten, St. Paul Hospital, Dezijn 1889. Öl Auf Leinwand: 71. 5 x 90. 5 cm. Van Gogh Museum, Amsterdam

The wide spectrum of representational positions ranging from empathetic portraiture to horror film stereotypes or graphic novel fantasies can be explored through visual culture. Art History has delved into the analysis of court ‘jesters’ portraits by Diego Rodriguez de Silva Velazquez (1599-1660) and mental health by Théodore Géricault (1791-1824). The pathetic fallacy revealed by Vincent Van Gogh (1853-90) in his nature studies made while a patient at St Paul’s Asylum in Saint Rémy has become part of our cultural mythology. The supposedly porous boundaries between creativity and physical-cognitive diversity have dominated the choice of subjects for artist biopics, from iconic subjects such as Van Gogh, Edvard Munch (1863-1944), Camille Claudel (1865-1943), and Henri de Toulouse Lautrec (1864-1901) to the ‘discoveries’ of Séraphine Louis of Senlis (1864-1942) and Christy Brown (1932-81). The intersection of design and film history has given rise to analyses of Tod Browning’s (1880-1962) 1932 film ‘Freaks’. Banned by the British Board of Film Certification ‘for exploiting for commercial reasons the dignity of the maimed’, the film, as Angela Smith has argued, can be read as an enactment of a resistant counter-narrative in the context of interwar eugenics in which it was produced.

Ruimtes: Isolation/Gemeenschap

The history of the disabled is located in a large number of historical environments. In her book Medicine by Design: The Architect and the Modern Hospital (Medicine through Design: The Architect and the Modern Hospital), Annemarie Adams from McGill University argues that the architectural design of hospitals influences modern medical treatments, conviviality and technologies has. Clare Hickman (therapeutic landscapes) from the University of Chester represented the landscape design as a historical therapeutic practice in medical facilities. Leslie Topp from Birkbeck College at the University of London showed the fundamental importance of the Vienna healing sites in the history of the Design for Cognitive Diversity (Freedom and the Cage: Modern Architecture and Psychiatry in Central Europe, 1890-1914). Robin Jackson's Discovering Camphill dealt with how the special educational institutions of the transnational camphill movement were created in Aberdeen in the 1930s. Claire Edington (Beyond the Asylum) from UC San Diego opened colonial and global perspectives in her analysis of mental illnesses in the Vietnam of the French colonial era. The design of local cultures affects wel l-being, often oppressive and isolating, but sometimes also a feeling of belonging and community.

Handicaped soldiers Maken Speelgoed in General Hospital Number 3, Colonia, New Jersey in 1917-8. US National Archives and Records Administration 45498513

Postdoctoraal Onderzoek: MSt in the Geschiedis van Design Proefcripts en Conferentiestukken

In the curriculum of the History of Design History, the maintenance of the design main theme for disability has enabled exciting graduate research. Student articles, Glass Eye Production in Germany during the First World War (Liz Dotzauer MST HOD 2013) and the prosthesis in the UK (Richard Hefford-Hobbs MST HOD 2019), as well as the identity policies of the visual cultures around the twenty-first century (running knives and paralympic athletes in the twenty-first century Bry Leighton MST HOD 2017) revealed. Design History Ensemble, Karen Price (MST HOD 2017) gave a student scholarship to investigate the thesis of the thesis and collections in the Orkney and Setland Islands to investigate the mental health in the midst of the conflict proved through the Toy handicraft exhibitions of the Second World War soldiers. //www. designhistorySociety. org/blog/view/rePort-dhs-student-travel-award-by-karen-price]. This project (and all design history master's theses) are present in the continuous education Bodleian library. Karen presented this research to an academic conference held at Edinburgh University in 2017. What's next? ....

Erin McNulty, graduate librarian

Takk Tillegene Ved Bodleian Libraryies, Angela Carritt, Grace Brown, Clare Hills-Nova, Erin McNulty Og Chantal Van den for å ha invitert Meg Til å Delta i Arbeidsgruppen for Funksjonshemmedes Historie.

Claire O'Mahony, Ph. D. Førsteamanuensis i

Further resources (text, image and sound material) History of Disability, Oxford Reading Lists Online (please note: On the e-texts mentioned in this blog and in the "Orlo" list of reads, only university members can access. Printed versions of the texts can also be found via the solo search). Extended Reading List Introductions to Disability History and Modern Visual/Material/Spatial Cultures Boys, J., (Ed.) (2017). Disability, Space, Architecture: A Reader. London: Routledge. Boys, J., (2014). Doing Disability Differently: An alternative manual on architecture, disability and design of everyday life. London: Routledge. Fraser, B., (2018). Cognitive disability aesthetics: visual culture, representations of disability and the (un) visibility of cognitive difference. Guffey, E., (2017). Designing disability: symbols, space and society. London: Bloomsbury. Hamraie, A. (2017). Building Access: Universal Design and the Politics of Disability. University of Minnesota Press. Humphries, S.; Gordon, P., (ed.) (1992). Out of Sight: The experience of disabilities 1900-1950. Northcote House. Kitchin, R., (2000). Disability, space and society, Sheffield: Geographical Association. Kuppers, P., (2019). Disability Arts and Culture: Methods and Approaches. Bristol: Intellect. Kuppers, P., (2014). Studying disability arts and culture: an introduction. Basingstoke: Palgrave MacMillan. Masefield, P., 2006. Strength: Broadsides from disability on the arts, Stoke on Trent: Trentham Books

Minneapolis; London: University of Minnesota Press. Ballett, P.; Weight, D., (ed.). Outside the walls of the institution: the history of care in the 1750-2000 community. Athlone Press. Cook, G. C., (2004). Victorian incurable: a story of the Royal Hospital for Neuro-Disability, Putney, Spennymoor: Memoir Club. Dale, P.; Melling, J., (2006). Mental Illness and Learning Disability Since 1850: Finding a Place for Mental Disorder in the United Kingdom. London: Routledge. Edington, C., (2019). Beyond the asylum: mental illnesses in French-colonial Vietnam. New York: Cornell University Press. Hickman, C., (2013). Therapeutic Landscapes: A History of English Hospital Gardens Since 1800, Manchester; New York: Manchester University Press. Jackson, R., (ed.) (2011). Discovering Camphill: New Perspectives, Research and Developments. Floris Books. Melling, J.; Forssythe, B., (1999). Insanity, Institutions, and Society, 1800-1914: A Social History of Madness in Comparative Perspective, London: Routledge. Topp, L.; Moran, J.; Andrews, J., (Eds.) (2006). Madness, architecture and the built environment: Psychiatric Spaces in Historical Context. London: Routledge. Tupling, K .; De Lange, A. (2018). Worship and Disability: A Kingdom for All. Cambridge: Grove Books. Disability and Exhibitions Anon, 2012. Unlimited: Exceptional new works by deaf and disabled artists, London: Southbank Center. Biggs, B. & AMP; Williamson, A., (2014). Art of the experiment lived. Liverpool: The Bluecoat.

1991. Attitude : [une exposition sur la capacité du projet] . Glasgow : Project Ability. Edinburgh City Art Centre, (1981). Artists unlimited : selected works by disabled artists & amp; craftsmen . Edimbourg : City Art Centre. Hayward Gallery, (1996). Beyond reason : art and psychosis : works from the Prinzhorn Collection , Londres : Hayward Gallery. Jones, S. & amp; Ritchie, E., 2007. The Studio Project : opening art practice . publié à l'occasion de l'exposition Different spaces, Studio Voltaire, Londres 22 juin - 8 juillet 2007 Londres : Intoart Projects. McCarty, C., (1988). Designs for independent living : the Museum of Modern Art, New York, April 16-June 7, 1988. New York : The Museum. Nolan, G., (1997). Designing exhibitions to include people with disabilities : a practical guide , Edinburgh : NMS Publishing. Pearson, A. & amp; Hughes, K., (1983). Please touch : animal sculpture ; catalogue d'une exposition au British Museum, 31 mars - 8 mai 1983 , Londres : British Museum. Sandell, R., Dodd, J. et Garland-Thomson, R., 2010. Re-presenting disability : activism and agency in the museum , Londres : Routledge. Shea, J., (1993). Defiance : art confronting disability , Stoke-on-Trent : City Museum & amp; Art Gallery. Galerie nationale sud-africaine, (1969). Sculpture for the blind, 1969 = Beeldhoukuns vir Blindes , Cape Town : s. n. Live Arts Goodley, D. & amp; Moore, M., (2002). Disability arts against exclusion : people with learning difficulties and their performing arts , Kidderminster : BILD. Keidan, L., M

Visual Culture and Cognitive/Mental Health Blackshaw, G. & amp; Topp, L., 2009. Madness and modernity : mental illness and the visual arts in Vienna 1900 , Farnham: Lund Humphries. Cabañas, K. M., (2019). Learning from madness : Brazilian modernism and global contemporary art (Learning from madness : Brazilian modernism and global contemporary art), Chicago: University of Chicago Press. Cross, S., 2010. (Cross, S., 2010). Mediating madness: mental distress and cultural representation. Basingstoke: Palgrave Macmillan. Davies, F. & amp; González, L., (2013). Madness, Women and the Power of Art. Oxford: Inter-Disciplinary Press. Groom, G. L., 2016. (Groom, G. L., 2016). Van Gogh's bedrooms. Chicago: Art Institute of Chicago. Lapper, A. & amp; Feldman, G., (2006). My Life in My Hands, London: Pocket. MacGregor, J. M., (1989). The discovery of the art of the insane, Princeton; Guildford: Princeton University Press. Miller, E., (2008). The girl who talked in pictures : autism through art, London: Jessica Kingsley. Mullins, E. & amp; Gogh, V. van Gogh, 2015 (Mullins, E. & amp; Gogh, V. van, 2015). Van Gogh: the asylum year, London: Unicorn Press. Nuss, P. et al., 2005. Journey to the Heart of Bipolarity: An Artistic Approach. Montrouge, France : John Libbey Eurotext Publishing. Prinzhorn, H.; Black, C., (2011). The art of insanity : an analysis of ten schizophrenic artists, Washington, D. C. Solar. Schildkraut, J. J. & amp; Otero, A., 1996. Depression and the spiritual in modern art: homage to Miró. Chichester: John Wiley. Shoham, S. G., (2002). Art, crime, & amp; madness : Gesualdo, Caravaggio, Genet, Van Gogh, Artaud , Brighton: Sussex Academic P

The World in the Mind and Sculpture of Deafblind People, Newcastle Upon Tyne: Cambridge Scholars Publishing. Disability after conflict Alberti, s. j. m. m.;, Tonks, H .; Midgley, J., (2014). War, Arts and Surgery: The work of Henry Tonks & amp; Julia Midgley. London: Royal College of Surgeons of England. Anderson J., (2011). War, disability and rehabilitation in the UK: Soul of a Nation. Manchester: Manchester University Press: Manchester University Press. Bourke, J. (1996). Dismembering the Male: Men's Bodies, Britain and the Great War. Chicago, IL: University of Chicago Press. Hutchinson, R., (2011). The silent weaver: Angus Macphee's extraordinary life and Virke, Edinburgh: Birlinn. Ott, K., (ed.). (2002). Artificial parts, practical lives: Modern Histories of Prosthetics. London: New York University Press. Reznick, J. (2004). Healing the Nation: Soldiers and the Culture of Caregiving in Britain During The Great War. Manchester: Manchester University Press: Manchester University Press. Serlin, D. (2004). Replaceable you: Engineering the body in postwar america. Chicago: University of Chicago Press: University of Chicago Press. Scruton, J. (1998). Stoke Mandeville Road to the Paralympics: Fifty years of history. Brill: Peterhouse. Taliaferro, W., (ed.). (1944). Medicine and war. Chicago, Illinois: The University of Chicago Press. WheatCroft, S., (2013). Worth to save: Disabled children during World War II. Manchester: Manchester University Press.

We Verwelkomen Suggesties Van Onze Lezers Voor the tw o-coming blogbijagen. NEEM CONTACT OP MET CLARE HILLS-NOVA (Clare. hills-nova@bodleian. Ox. ac. UK) EN/OF CHANTAL VAN DEN BERG (CHANTAL. VANDENBERG@BODLEIAN. OX. AC. UK) ALS JEE EN ENDERWERP WILT VOORSTALLEN.

Like @ sac! 2019 Zwarte Geschiedenis Maand Boek Tentoonstelling

Geplaatst op 21/10/2019 Door Vandenbergc

Het the orderer Van Zwarte a Visual Cultuur: Een Steeds Evoluerend Addendum

Een Boek in de Sackler Bibliotehek

Building on the Sackler's 2018 Black History Month Book Display, we would like to further expand the possibilities of the examination and offer additional sources and considerations. (As Ben Gable found, the Black History Month in the United Kingdom has its origin in the work of Dr. Carter G. Woodson, a wel l-known African American historian. In 1926, Woodson proposed a on e-week concentration on the contributions of African Americans on the history and culture The Journal of Negro History in order to raise a critical science and a awareness of the African diaspora in view of the growing interest in Black States in 1976 and encouraged other countries with the history of the African Diaspora, which has shaped the global consciousness, to deal with and deal with the Ghanaian political refugee Akyaaba Addai-Sebo, which was at the forefront of the campaign against institutional racism in the United Kingdom and against the Apartheid regime to adapt the idea, with the focus on the inspiration of the black youth. The Black History Month in the United Kingdom was introduced in 1987 with the intention of creating a broad global awareness.

To that end, we aim to offer a complement to the excellent resources the Sackler has already assembled, featuring a wide range of writers and artists who continue to define and challenge our understanding of the African diaspora. We are particularly concerned with emphasizing the global character of this diaspora, even as we select titles from literature published for an English-speaking audience. The Atlantic Ocean, the primary site of the slave trade, played an important role in the formation of a black consciousness in the diaspora. Books such as Slave Portraiture in the Atlantic and Characters of Blood: Black Heroism in the Transatlantic Imagination reflect this history and continue an intellectual tradition that privileges the idea of ​​movement over national identity. In the present, Okwui Enwezor and Chika Okeke-Agulus' Contemporary African Art Since 1980 reflects the growing rise of the African continent in the global art market, while Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria offers a case study that decenters the canon of modernism beyond its Anglo-European axis. The historical gaps in the Western art canon are addressed in recent monographs and exhibition catalogues such as Richard Powell's Archibald Motley: Jazz Age Modernist and Jeffreen Hayes' Augusta Savage: Renaissance Woman , which show how these influential figures shaped transatlantic modernism.

Author: Erin McNulty

Similarly, the formation of black visual culture in Britain is obliged to centuries of migrations in the British Empire, and then the Commonwealth of Nations. In the books of Victorian Jamaica and the Eye on the Tropics: Tourism, PhotoGraphy and Framing The Caribbean PictureSque, conflicts, as well as innovations, which became the result of violent imports of British ways to see the colonial countries of the Caribbean pool. On the contrary, in the book “Black Britain: A Photographic History, it documents the life of those who emigrated to the“ Motherland ”after the Second World War, when the British territories in Africa and on the Caribbean gained independence. In the 1980s and 1990s, a new generation of black British, who were born and raised in the UK, appeared. Disappointed with constant racism and inspired by the ideology of Black Power, they were rebuffed. Artists such as Eddie Chambers, author of Black Artists in British Art: A History Sincy the 1950s to the Present, have adopted a separatist tactic that defended the movement of black art in the United States. However, in Britain, the term “blackness” was wider than in the United States, and often made it possible to create strategic coalitions between artists of African and Asian origin. The essays included in the book “Shades of Black: Assembling Black Art in 1980s Britain, indicate the time when the very concept of“ blackness ”was analyzed in the framework of the formation of a nascent postcolonial consciousness. Contemporary artists-practitioners are engaged

KUNSTNERNE SOM VAR Involvert I Disse Grunnleggende Debattene, FåRST Nå DEN Anerkjennnelesen de Fortjener. Dette Gjenspeiles I Utstillingen VåR, Som Blant Annet Inneholder Den Nylig Publiserte MonoGraft Om Lubaina Himid CBE, SOM I 2017 VAR DEN FYERSTE SVARTE KVINNELIGE KVINNELIGE Ner-Prisen. VI HAR OGSå EN Monografi Om Frank Bowling Obe Ra, Den Britisk-Guyanesiske Malen Som Til London I 1953, OG SOMMER BLE HILLET MED EN RETROSPEKTIV UTSTISPELLING POS TATE BRITANIN.

We hope that this exhibition will inspire both employees and students and emphasize both the performance of individual black artists and the influence of the African diaspora on Western culture in general. Moreover, we hope that it highlights a number of ways in which race plays a role in the topics of the Sackler collections. The exhibition runs until the end of the month, but the bibliography remains accessible on this blog post.

Dr. Amy M. Moeney Terra Foundation Guest professor American Art Department Art History Oxford University amy. moeney@histie. ox. ac. uk

Dr. Giulia Smith Leverthulme Early Career Fellow Ruskin School of Art University of Oxford giulia. smith@rsa. ox. ac. uk

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Abdul Alkalimat, Romi Crawford and Rebecca Zorach, Eds. The wall of respect: public art and black liberation in the 1960s. Chicago, 2017.

Baker A., ​​Houston, Manthia Diawara and Ruth H. Lindeborg, Eds. Black British cultural studies: a reader. London; Chicago, 1996.

Barringer, Tim and Wayne Modest, Eds. Victorian Jamaica. Durham, 2018.

Battle-Baptiste and Britt Rusert, Eds. WEB. Du Bois's Data Portraits: Visualization of Black America: The Color Line At The Turn of the Twentieth Century. New York, 2018.

Bernier, Celeste-Marie. Char also aus Blut: Black Heroism in the Transatlantic Imagination. Charlottesville; London, 2012.

Bindman, David, ed. The image of the black in African and Asian Art. Cambridge, Mon, 2017.

Boyce, Sonia und Other, Eds. Shades of Black: Assembling Black Art in 1980s Britain. Durham, 2005.

Buick, Kirsten P. Mary Edmonia Lewis and the Problem of Art History's Black and Indian Subject. Durham, 2010.

Campt, Tina M. Image Matters: Archiv, photography und die Afrikanic Diaspora in Europe. Durham, 2012.

Chambers, Eddie. Schwarze Künstler in Der Britischen Kunst: A History Since the 1950s to the Present. London; New York, 2014.Chang, Andrea, ed. Circles and circuits: Chinese Caribbean Art. Durham, 2018.

Cleveland, Kimberly L. Black Art in Brazil: Expressions of Identity. GAINESVILLE, FL, 2013.

Copeland, Huey. Bound to Appear: Art, Slaverei und der Ort des Schwarzseins im Mult i-culturels America. Chicago, 2013.

Dubois Shaw, Gwendolyn. Portraits of A People: Picturing American Americans in The NineteENTETH Century, Andover, Ma; London, 2006.

Enwezor, Okwui und Chika Okeke-Agulu. Zeitgenössian Africanian art seit 1980. Bologna, 2010.

Frances, Jacqueline. Making Race: Modernism and "Racial Art" in America. Seattle, 2015.

Fracchia, Carmen. 'Black but Human' Slavery and Visual Arts in Hapsburg Spain, 1480-1700. Oxford, 2019.

Finley, Cheryl. Committed to Memory: the Art of the Slave Ship Icon . Princeton, 2018.

Fox-Amato, Matthew. Exposing Slavery: Photograph, Human Bondage, and the Birth of Modern Visual Politics in America . Oxford, 2019.

Gilroy, Paul. Black Britain: A Photographic History . London, 2007.

Godfrey, Mark und Zoé Whitely, eds. Die Seele einer Nation: Art in the Age of Black Power. London, 2017.

Gooding, Mel. Frank Bowling . London, 2015.

Hayes, Jeffreen, ed. Augusta Savage: Renaissance Woman . Jackson, Florida; London, 2018.

Jay, Martin und Sumathi Ramaswamy, eds. Empires of Vision . Durham, 2014.

Jones, Kelli. South of Pico: Afroamerikanische Künstler in Los Angeles in den 1960er und 1970er Jahren . Durham, 2016.

Lungo-Ortiz, Agnes und Angela Rosenthal, eds. Slave Portraiture in the Atlantic. Cambridge, 2013.

Mercer, Kobena. Welcome to the Jungle: New Positions in Black Cultural Studies. London, 1994.

Mercer, Kobena, ed. Annotating Art's Histories: Cross-Cultural Perspectives in the Visual Arts (4 Bde.). Cambridge, MA; London, 2005-2008.

Mercer, Kobena. Reisen und Sehen: Black Diaspora Art Practices Since the 1980s. Durham, 2016.

Miller, Monica L. Sklaven der Mode. Durham, 2009.

Murrell, Denise. Posing Modernity: Matisse'o iki šių dienų. New Haven, 2018.

Okeke-Agulu, Chika. Postkolonijinis modernizmas: Menas ir dekolonizacija XX a. Nigerijoje . Durham, 2015.

Pantin Malin Stahl, Lisa, ed. Lubaina Himid: Workshop Manual . Londonas, 2019 m.

Patton, Pamela A. Envisioning Others (liet: . Leiden, 2015.

Powell, Richard J., ed. Archibald Motley: Jazz Age Modernist . Durham, 2014.

Thompson, Krista. An Eye for the Tropics (liet: Durham, 2006.

Thompson, Krista. Shine: The Visual Economy of Light in African Diasporic Aesthetic Practice (Šviesos vizualinė ekonomika Afrikos diasporos estetinėje praktikoje). Durham, 2015.

Walker, Hamza, ed. Black Is, Black Ain't (liet. Chicago, 2013.

Wallace, Maurice O., and Shawn Michelle Smith, eds. Paveikslai ir progresas: Michelle: Early Photography and the Making of African American Identity. Durham, 2012.

Walmsley, Anne. Karibų menininkų judėjimas, 1966-72 m. (The Caribbean Artists Movement, 1966-72): A Literary and Cultural History . London, 1992.

Wainwright, Leon. Art and the Transnational Caribbean . Manchester, 2011.

Wainwright, Leon. Fenomenalus skirtumas: A Philosophy of Black British Art (Juodosios Britanijos meno filosofija) . Liverpulis, 2019 m.

Williams, Lyneise. Latin Blackness in Parisian Visual Culture, 1852-1932 (Lotynų juodaodžiai Paryžiaus vizualiojoje kultūroje, 1852-1932) . Londonas, 2019 m.

Willis, Deborah. Reflecties in zwart: Een geschiedenis van zwarte fotografen van 1840 tot nu. New York; Londen, 2000.