In this paper I explore Constantin Brâncuși's N*gress 1923-33 series, focusing mainly on the Bronze Head of a Black Woman (1926) in the collection of the Toledo Museum of Art (TMA), previously known ...as Blond N*gress. I begin by questioning the validity of the art historical canon and provide readers with a practical example of narrative reconstruction using an ethics-focused, feminist approach formed and executed within the walls of the TMA. I follow this with a broader investigation of Brâncuși's representations of women to develop a more nuanced look at this canonical figure, while taking into consideration the author's work with Bronze Head of a Black Woman. I conclude with a brief discussion on perceptions of value in the art world and the importance of continually reassessing museum narratives.
The distinction between reason and senses, until recently maintained in philosophy, has now grown to cause serious doubts. The situation requires creating new forms of cognitive continuity revealed ...in various levels of emotional experience. Constantin Brâncuşi's art is analyzed as an example of transgression of this distinction through building a vinculum between the earthly and the heavenly and between the external and the internal. The author refutes the common attribution of Brâncuşi's art to the Parisian trends or to primary organic forms. In Brâncuşi's understanding, art creates its own philosophy whose aim is to attain the essence of being. Thus, the artist explores the possibilities of transgressing the domination of sight, for idea, imagination or thought expressing flight through his sculpture. He captures a fleeting moment of balance between the meeting of forces. It is constantly in statu nascendi, only announced, perceived by the artist right before, as anticipated. It lasts as a being in suspension. Thus, Brâncuşi expresses his fascination with Plato's theory of hierarchic transcendence of consequent stages of knowledge. According to this ethos, art attempts to reach the inside of matter so as to restore the lost unity with the universe. A column, as axis mundi, becomes the most expressive form of communication between the human process of transgression and the transcendent ideal of eternity.
THE CORONAVIRUS PANDEMIC FORCED UNIVERSITIES TO MOVE FULLY OR PARTIALLY ONLINE AND TO USE ONLINE PLATFORMS FOR TEACHING AND LEARNING. THIS STUDY EXPLORES STUDENT REFLECTIONS ON ONLINE LEARNING ...COMPARED TO FACE-TO-FACE LEARNING AT THE ROMANIAN AND SLOVAK UNIVERSITIES. A QUANTITATIVE ANALYSIS WAS CONDUCTED ON 118 STUDENTS. THE STUDY FOUND THAT THE MAJORITY OF STUDENTS EXPRESSED THEIR SATISFACTION WITH ONLINE LEARNING. THEY CONSIDERED THEIR ONLINE ENGLISH COURSES WELL-STRUCTURED AND CLEAR. MOREOVER, THEY PERCEIVED THEY COULD LEARN ENGLISH MORE EFFECTIVELY ONLINE BECAUSE THE CLASSES WERE MORE INTERACTIVE AND THE ONLINE PLATFORMS PROVIDED PLENTY OF OPPORTUNITIES TO PRACTICE ALL SKILLS: LISTENING, READING, WRITING AND SPEAKING. MOST OF THEM APPRECIATED THEIR ENGLISH ONLINE CLASSES DUE TO THE VARIABILITY OF LEARNING MATERIALS, METHODS AND ACTIVITIES, THE COMFORT, THE NOVELTY AND ATTRACTIVITY, THE SUPPORT OF LEARNER'S INDEPENDENCE AND OF SPEAKING CONFIDENCE. CONCERNING FACE-TOFACE CLASSES, THEY PREDOMINANTLY APPRECIATED THE EFFICIENCY, FEWER DISTRACTIONS, BETTER INTERACTION AND COMMUNICATION, FEWER HEALTH ISSUES CAUSED BY THE SEDENTARY LIFESTYLE, MORE SOCIAL CONTACT, LOSS OF TECHNICAL ISSUES, FAMILIARITY AND BETTER MOTIVATION.
This article takes an interdisciplinary approach in order to show the artistic importance of the friendship between Ezra Pound and Constantin Brancusi. It refers to key moments in Pound's late cantos ...that evidence his development of a specifically sculptural aesthetic technique. With reference to Pound's critical writings on the visual arts as well as to his allusions to sculpture and the process of direct carving throughout The Cantos, Pound's and Brancusi's work is seen as exemplary of experiments in poetic and sculptural form during the first half of the twentieth century. More specifically, Pound's invocation of 'no slither' and his reference to Brancusi's Bird in Space (1924, etc.) in Canto CXVII are read as being connected to his struggle to 'make it cohere'. While Harriet Zinnes and Rebecca Beasley have both analysed Pound's work in relation to the visual arts, this article sees his interest in the work of Brancusi as something that not only influences the shape of his late cantos, but also is intrinsic to his fraught creative process and sculptural aesthetic.
Air is the main element necessary to maintain life, so it is imperative to keep his natural quality, even if urbanization and industrialization increase the risk of polluting the atmosphere. One of ...the indicators for assessing air quality is the quantity of settleable particulate material from the atmosphere. This paper aims to determine the concentration of settleable particles produced by multiple sources such as road traffic, industrial activities, etc. The sampling was done for a 4 months period (from the middle of February until the middle of June, 2018) in 5 sampling points from Hunedoara. The maximum concentration of settleable particles of '5.4445 g/m2month was obtain in Peştişu Mare in April/May, while the minimum value obtained of 1.6273 g/m2month was in May/June on Tudor Vladimirescu Street.
(Gooding 2015, 11) As Mel Gooding was to explain later, "Neagu's artistic project, was of a kind alien to the emphatically empirical modes of modern British art (...) variously characterized by ...natural analogies and by a direct engagement with the visible world, the world of appearances, and above all, by its avoidance of metaphysical symbolism" (Ibidem). In the evolution of human thought, earth, stone, water, wood, fire have provided the source of the most reliable landmarks, and it may be safely anticipated that there are unlimited reserves of aesthetic vitality in the material messages of art, if only because human experience of materials is infinite. Nine Catalytic Stations needs to be acknowledged as setting forth an emphatically materialistic founding myth, addressed to present day Europe as well as to all civilisations across the world, and define in new terms a promisse for strenghthened human harmony. * "When I started to meditate about the beauty of materials - writes Gaston Bachelard -, I was suprised to notice the striking absence of considerations on the material cause in the deliberations of writers in aesthetics. To give imagination a free scope, the hylesic revolution in sculpture, as initiated by Brancusi and worldwidely supported this far by five generations of artists claiming a Brancusian ascendancy may be promissed to pave the road to a progressive bridging together into a common structure of the ethical systems underlying ethnic and cultural diversity.
IN THIS RESEARCH, THE AUTHOR TRIES TO HIGHLIGHTS THE MOST IMPORTANT ASPECTS OF SPIRITUALITY AND MISTIQUE FROM THE WORK OF THE GREAT ROMANIAN SCULPTOR CONSTANTIN BRÂNCUŞI. SOME OF THAT ARE PRESENTED ...AND ANALYSED AND THE MOST IMPORTANT SYMBOLS ARE EMPHASISED AND ANALYSED USING ALSO THE OPINIONS OF SOME OF THE MOST IMPORTANT ANALISYTS OF THE SCULPTOR. THE CONCLUSION OF THE INVESTIGATION IS THAT, BRÂNCUŞI USED A LOT OF SYMBOLS IN HIS CREATION, BUT HE RESPECTED ITS SIGNIFICATION FROM THE CULTURE OF WHICH THEY BELONG AND, WHEN HE GIVES NEW VALUES TO A SYMBOL, HE RESPECTS THE PATTERNS FROM THE GENUINE CULTURE.
Climate change. Security implications Tomescu, Ina Raluca
Analele Universitǎti̧i "Constantin Brâncuşi" din Târgu Jiu. Serie Litere și Ştiinţe Sociale,
01/2017
Journal Article
Recenzirano
Climate change presents a serious threat to the security and prosperity of the countries. Since climate change has far-reaching implications for human livelihoods and activities, the potential ...security implications are broad and complex. Domestically, the effects of climate change could overwhelm disaster-response capabilities. Internationally, climate change may cause humanitarian disasters, contribute to political violence, and undermine weak governments.
About the Artist: Selwyn Muru NEPIA, MOANA
The Contemporary Pacific,
09/2017, Letnik:
29, Številka:
2
Journal Article
Recenzirano
Delwyn Muru, one of New Zealand's most senior Maori artists, is a tribal repository of knowledge, painter, sculptor, playwright, musician, pioneer broadcaster, fisherman, educator, and former orator ...for New Zealand's governor-general, Sir Anand Satyanand. Some of his work, including paintings from his 1970s Parihaka series, is rooted in specific Maori tribal knowledge and the enduring legacy of colonialism and loss of land in New Zealand. Other works have protested international issues such as nuclear testing in the Pacific or the apartheid regime in South Africa. Also prominent among his legacy are more humorous works, such as his seven-meter-high Waharoa (Gateway), embellished with carved animals, musical instruments, and poetry for Auckland's Aotea Square and the quirky carved palisade that surrounded his home in Freeman's Bay. For Muru, Maori art has always been contemporary -- it circulates ideas and remains forever relevant through the ways people think and interact with it.
The novels of Anton Holban presents an image of femininity influenced BZ the way in which the women show her affection and especially how Sandu, the character-narrator perceive it, so, the woman in ...the opinion of Sandu and in readers' vision remains an eternal mystery. People know about women from Holban's creation only that he tells them enough as narrator, however the writer lets some open windows through the soul of characters, so that they can look the image of feminity both from outside and inside it.
