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Female Desire in the UK Teen Drama Skins
Female desire in the UK teen drama Skins An analysis of the mise-en-scene in ‘Sketch’ Marthe Kruijt S4231007 Bachelor thesis Dr. T.J.V. Vermeulen J.A. Naeff, MA 15-08-16 1 Table of contents Introduction………………………………..………………………………………………………...…...……….3 Chapter 1: Private space..............................................…….………………………………....….......…....7 1.1 Contextualisation of 'Sketch'...........................................................................................7 1.2 Gendered space.....................................................................................................................8 1.3 Voyeurism...............................................................................................................................9 1.4 Properties.............................................................................................................................11 1.5 Conclusions..........................................................................................................................12 Chapter 2: Public space....................……….…………………...……….….……………...…...…....……13 2.1 Desire......................................................................................................................................13 2.2 Confrontation and humiliation.....................................................................................14 2.3 Conclusions...........................................................................................................................16 Chapter 3: The in-between -
01Ÿ345617859 Ÿ Ÿ 971Ÿ 1Ÿ 897 5
ÿ ÿÿ ÿÿ !"#$ %&'&' ()01 234567ÿ39ÿ@ABAC5D7ÿA4ÿEAFÿAFGÿHAD75CÿIFÿ25CPFIQ3ÿRCASITFU4ÿVWQQACXÿ39ÿD75 Y`S5aa5FSI54ÿ39ÿVDÿ234567ÿbcdefg V367IAÿh3iA pqrrqsÿuvw'ÿxyÿxwuwqyxrÿsq'ÿxuv '&'&xvqyrwy&y&xuv&'&' xuÿqÿuv&u'ÿxyÿxywuw&'ÿqqy' defÿpÿghfiej q kwlvuÿm&lrxuwqy'ÿ0n1n mjo %&ÿxu&wxrÿwyÿuvw'ÿqywxuwqyÿxkÿp&ÿ'pq&uÿuqÿq kwlvuÿy&ÿuv&ÿuÿykÿuv&ÿq kwylÿqÿqywxuwqyÿqÿuvw'ÿxu&wxr pkÿkqÿxkÿp&ÿuv&ÿ'pq&uÿqÿq kwlvuÿ qu&uwqyÿy&ÿuv&ÿu rqÿyquÿ&qs&ÿuvw'ÿyquw& %w'ÿw''&uxuwqyuv&'w'ÿw'ÿpqlvuÿuqÿkqÿpkÿm&'&xvyrwy&trÿjuÿvx' p&&yÿx& u&ÿqÿwyr'wqyÿwyÿ%&'&'ÿpkÿxyÿxuvqwu&ÿxwyw'uxuqÿq m&'&xvyrwy&trÿpqÿq&ÿwyqxuwqyvÿ r&x'&ÿqyuxu &'&xvqyrwy&ty&x CHAPTER ONE: HUSBAND OF THE MOTHER OF GOD Gracián dedicates Book I of his Summary to an exploration of Joseph’s title as “husband of Mary”. Joseph’s role as spouse has been given much attention in biblical commentary, in apocryphal literature, and in the writings of Church Fathers and theologians. The Summary’s emblematic approach to the marriage of Joseph and Mary bears connection with each of these genres as well as with fourteenth and fifteenth-century Italian artistic representations of the scene. Although the Summary’s depiction of the marriage, in particular Blancus’ engraving (Plate 1), conforms to the accounts given in Scriptural and apocryphal narratives, it presents striking divergences when compared to the existing artistic tradition. While artistic depictions of the Marriage of the Virgin traditionally present the event as a publicly celebrated union observed by onlookers, most notably the disappointed unsuccessful suitors competing for Mary’s hand, Blancus “privatises” the union, thus emphasising it and ultimately marriage as a whole as sacred, dignified and divinely ordained. The engraving, along with the accompanying epigram and text de facto, successfully present to the audience a visualisation of the nature of Mary and Joseph’s marriage and of Joseph’s role as spouse. -
Donatello's Terracotta Louvre Madonna
Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it. -
The Biblical Metanarrative #1: Creation and Rebellion
Bethel School of Discipleship – Year 2 The Biblical Metanarrative #1: Creation and Rebellion COURSE OVERVIEW This course is a brief overview of the great story of God and his purpose for humanity, also known as the biblical metanarrative. This story consists primarily of four major elements: God’s creation of the world and humanity Humanity’s rebellion against God God’s unfolding plan of redemption to restore his creation God’s consummation of his redemptive plan The more we understand God’s great story, the biblical metanarrative, the more we are able to attach real meaning to our own lives. God’s story frames our own stories. IMAGE OF GOD 1. Humans were created in the image of God. Then God said, “Let us make man in our image, after our likeness…” So God created man in his own image, in the image of God he created him; male and female he created them. (Genesis 1:26–27, ESV) 2. The Hebrew word translated “image” is usually translated “idol,” as in the statues set up in pagan temples to represent various deities; (see Nu 33:52; 2 Kg 11:18; 2 Ch 23:17; Ez 7:20; 16:17; Am 5:26). When this word was used in Genesis 1 to describe the creation of humans, it necessarily would have been understood by the Israelites in their context. Its meaning in the ancient Near East (ANE) involved concepts already associated with the images of deities. Divine images in the ANE were believed to be: . A manifestation of the divine presence and glory . -
Virgin Enthroned, School of Jacopo Di Cione
The Technical and Historical Findings of an Investigation of a Fourteenth-Century Florentine Panel from the Courtauld Gallery Collection By Roxane Sperber and Anna Cooper The Conservation and Art Historical Analysis: Works from the Courtauld Gallery Project aimed to carry out technical investigation and art historical research on a gothic arched panel from the Courtauld Gallery Collection [P.1947.LF.202] (fig 1).1 The panel was undergoing conservation treatment and was thus well positioned for such investigation. The following report will outline the findings of this study. It will address the dating, physical construction, iconography, and attribution of the work, as well as the likely function of the work and the workshop decisions which contributed to its production. Dating Stylistic and iconographic characteristics indicate that this work originated in Florence and dates to the last decade of the fourteenth century. The panel is divided into two scenes; the lower scene depicts a Madonna of Humility, the Virgin seated on the ground surrounded by four standing saints, and the upper portion of the work is a Crucifixion with the Virgin and St John the Evangelist (the dolenti) seated at the cross. It is difficult to trace the precise origins of the Madonna of Humility and the Dolenti Seated at the Cross. There is no consensus as to the origins of these formats, although numerous proposals have been suggested.2 Millard Meiss proposed that the Madonna of Humility originated in Siena with a panel by Simone Martini,3 who also produced a fresco of the same subject in Avignon.4 Beth Williamson agrees that these mid fourteenth-century works were early examples of the Madonna of Humility, but suggests that the Avignon fresco came first and the panel, also produced during Martini’s time in France, was sent back to the Dominican convent in Siena, an institution to which Martini had ties.5 The Madonna of Humility gained popularity throughout the second half of the fourteenth century and into the fifteenth century. -
The Marian Philatelist, Whole No. 45
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 11-1-1969 The Marian Philatelist, Whole No. 45 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 45" (1969). The Marian Philatelist. 45. https://ecommons.udayton.edu/imri_marian_philatelist/45 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. ‘dhe Marian Philatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 224 Wsst Crystal View Aeeuee W. J. Hoffman Editor Canne, . Califrrnia '92667 , U.S.A. Vol. 7 No. 6 Whole No. 45 NOVEMBER 1, 1969 All data available to the time we went to 12C - (Class 2), ADORATION OF THE KINGS by press Vs listed even though stamps were not Gerard David (0.1460-1523). Almost entire available for illustration. painting reproduced. Original is wood, 23 1/2 x 23 inches, in the London National Gall NEW ISSUES ery. ANGUILLA: A 4-stamp Christmas issue released October 15, 1969. Designed by Victor Whitley 15C - (Class 2), ADORATION OF THE KINGS by based on stained glass windows ^Victoria and Vincenzo Foppa (c.1427-c.1515). Almost entire Albert Museum, London: painting seen on stamp. Original is wood, 6c,35c - (Class 2) ADORATION OF THE MAGI, by 94 x 83 inches, in the London National Gallery Guglieme de Marc^lat, with the arms of Pope Leo X, from the Cathedral of St. -
Az Égen Nagy Jel Tűnt Fel: Egy Asszony, Öltözete a Nap, Lába Alatt a Hold, Fején Tizenkét Csillagból Korona
DOKTORI DISSZERTÁCIÓ A NAPBAÖLTÖZÖTT ASSZONY, MINT A PATRONA HUNGARIAE IKONOGRÁFIAI TÍPUSA NÁTYI RÓBERT 2013. EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR DOKTORI DISSZERTÁCIÓ NÁTYI RÓBERT A NAPBAÖLTÖZÖTT ASSZONY, MINT A PATRONA HUNGARIAE IKONOGRÁFIAI TÍPUSA MŰVÉSZETTÖRTÉNET DOKTORI ISKOLA 2013. A Doktori Iskola vezetője: Dr. Kelényi György, DSc, egyetemi tanár Program: Újkori festészet, szobrászat, építészet A program vezetője: Dr. Kelényi György. DSc, egyetemi tanár A bíráló bizottság elnöke: Dr. Kelényi György DSc, egyetemi tanár A bizottság tagjai: Dr. Serfőző Szabolcs PhD Dr. Prokopp Mária professzor emeritus (póttag) Dr. Eörsi Anna PhD (póttag) A bizottság titkára: Dr. Széphelyi F. György PhD, egy. adjunktus Felkért bírálók: Dr. Barna Gábor DSc Dr. Terdik Szilveszter PhD Témavezető: Dr. Galavics Géza, MHAS TARTALOMJEGYZÉK TARTALOMJEGYZÉK 3 1. BEVEZETÉS 5 2. TUDOMÁNYTÖRTÉNET 12 3. A NAPBAÖLTÖZÖTT ASSZONY IKONOGRÁFIÁJA 24 4. A SZEPLŐTELEN FOGANTATÁS TEOLÓGIÁJA 45 5. A SZEPLŐTELEN FOGANTATÁS TANÁNAK HAZAI TERJEDÉS 51 6. REGNUM MARIANUM ESZME ÉS A PATRONA HUNGARIAE 59 7. A XV-XVI. SZÁZAD MŰVÉSZETI EMLÉKEI 67 7.1.1. OLTÁROK, SZOBROK 71 7.1.2. FUNERÁLIS EMLÉKEK, EPITÁFIUMOK 82 7.1.3. AZ ÖTVÖSSÉG EMLÉKEI 84 7.1.4. PECSÉTEK 93 7.1.5. PÉNZVERÉS 1526-IG 96 7.1.6. MISERUHÁK, KAZULÁK 104 7.1.7. KÖNYVMŰVÉSZET 108 7.2.1. KÓDEXEK 108 7.2.2. NYOMTATVÁNYOK, KÖNYVEK, MISSALÉK 112 7.2.3. KÖNYVKIADÓ ÉS NYOMDÁSZJELVÉNYEK 121 7.2.4. NYOMTATVÁNYOK A MOHÁCSOT KÖVETŐ ÉVTIZEDEKBEN 124 8. XVII-XVIII. SZÁZAD MŰVÉSZETI EMLÉKEI 128 8.1.1. HABSBURG URALKODÓK PÉNZVERÉSE (1527-1780) 128 8.1.2. AZ ERDÉLYI FEJEDELEMSÉG PÉNZVERÉSE 1540-1660 137 8.2. A NAPBAÖLTÖZÖTT ASSZONY VÁLTOZATAI (PATRONA HUNGARIAE) 141 8.2.1. -
Evangelion Mythos and the Plot You Thought the Show Forgot! Anime Is Lit Podcast! Twitter: @Animeislitpod! What This Panel Will Be
Evangelion Mythos and the Plot You Thought the Show Forgot! Anime Is Lit Podcast! Twitter: @animeislitpod! What this panel will be... Part 1.0! • Adam and Lilith! • Human Instrumentality! • The Impacts! • Q&A! . Part 2.0! • Symbols! • Tracking Shinji’s journey! • The psychological/thematic thread of the story and how it connects to the external narrative! • Q&A! . Part 1.0 + 2.0! • Extras! What this panel will not be... Exclusively memes! No need for bibles... What’s included: A Lot.! What it means: Not much.! Religious symbolism Assistant Director Kazuya Tsurumaki on religious symbolism in NGE:! “Because Christianity is an uncommon religion in Japan we thought it would be mysterious. None of the staff who worked on Eva are Christians. There is no actual Christian meaning to the show, we just thought the visual symbols of Christianity look cool...”! http://web.archive.org/web/20020622231224/http://www.akadot.com/article/ article-tsurumaki2.html! Anno:! “I am not familiar with many things in Christianity, and I have no intention of approaching it or criticizing it either.”! http://www.gwern.net/docs/eva/1997-animeland-may-hideakianno-interview- english! Lilith! Adam! . Seed of Humanity! . Seed of the Angels! . DNA -> Unit-01! . DNA -> All other EVAs! . Kept in Terminal Dogma! . Kept in Gendo’s Suitcase! . Soul -> Rei! . Soul -> Kaworu! . Bleeds LCL! . Everyone mistakes Lilith for Adam ! • Confusing af! 01!232!-F@'+ 01!232IJ!+28@KL@M(2CD*= I$N/672 8!"@$N/672</75F)(2 <7"62807/$#-(= <7"6 <#LO2(721IAJ= >75' %&'&-207-7/2 ?-+&"@29#:7/528>@@'@= 9#:7/52"&@+ 89#:7/5;+2 <7"6= !"#$ TU2 ,D*U2!S0S <&''&7-2 *+( ,-" W1XIY ./" <SVS WI-"27Z2 45$#-2 IP#-F@'&7-Y 8%&'&()2V/@#(@+2 ?-+(/5$@-(#'&(6 %&Z@27-2I#/()= ,DDD2 !S0S >75' *QRR ?-+&"@2A@& A@&2?? A@&2??? %&'&() 0&+L7P@/@"2 8<7"62&-2E@/$&-#'207F$#= <7"6 N62 8['5-F2(72 >@@'@ \77-= 01!232B-&(CD* B-&(CD*2G2>)&-H& ]2?$M#L(+ 01!23245$#-+ 45$#-&(6 . -
E Virgin Mary and Catholic Identities in Chinese History
e Virgin Mary and Catholic Identities in Chinese History Jeremy Clarke, SJ Hong Kong University Press e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Hong Kong University Press 2013 ISBN 978-988-8139-99-6 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Goodrich Int’l Printing Co., Ltd. in Hong Kong, China Contents List of illustrations ix Acknowledgements xi Introduction: Chinese Catholic identities in the modern period 1 Part 1 Images of Mary in China before 1842 1. Chinese Christian art during the pre-modern period 15 Katerina Ilioni of Yangzhou 21 Madonna and Guanyin 24 Marian images during the late Ming dynasty 31 e Madonna in Master Cheng’s Ink Garden 37 Marian sodalities 40 João da Rocha and the rosary 42 Part 2 e Chinese Catholic Church since 1842 2. Aer the treaties 51 French Marian devotions 57 e eects of the Chinese Rites Controversy 60 A sense of cultural superiority 69 e inuence of Marian events in Europe 74 3. Our Lady of Donglu 83 Visual inuences on the Donglu portrait 89 Photographs of Cixi 95 Liu Bizhen’s painting 100 4. e rise and fall of the French protectorate 111 Benedict XV and Maximum Illud 118 viii Contents Shanghai Plenary Council, 1924 125 Synodal Commission 132 Part 3 Images of Mary in the early twentieth century 5. -
Annual Report of the Public Printer
ANNUAL REPORT OF THE PUBLIC PRINTER. Office of the Public Peit^ter, Washington, B. Becemher 28, 1891. Sir: I liave the honor to transmit herewith to Congress a report of the condition and operations of this office for the fiscal year ended Jnne 30, 1891. F. W. Palivier, Fuhlic Printer. Hon. Levi P. Morton, President of the Senate. To the Senate and House of Bejyresentatires: Tabular exhibits in the ai^pendix to this report shoAv in detail the transactions of the Government Printing Ofdce for the fiscal year which terminated June 30, 1891. In accordance with recommendations made by me, ai)propriations were made during the first session of the Fifty-first Congress for the purchase of new tyije and new presses for this office. Previous to the purchase of the type the leading type-founders in this country were invited by me to send sealed proposals to this office for furnishing the required quantities. Awards were made to Messrs. Barnhart Brothers & Spind- ler, of Chicago, and Messrs. George Bruce's Son & Co., of New York City, the lowest bidders. Previous to the purchase of the presses lead- ing press manufacturers and dealers were incited to send sealed pro- posals for turnishing this class of machinery. Awards were made to Messrs. Walter Scott & Co. and Messrs. C. Potter, jr., & Co., of Plain- field, N. J., and Messrs. Farmer, Little & Co. and Messrs. Montague & Fuller, of New York, the lowest bidders. All of the type and presses were furnished within the contract time, and the facilities of the office have been much improved by these purchases. -
On the Exhibition Policies for Raphael's Masterpieces
Renaissance 3/2015 - 1 /lessandra Galiz6i Kroegel “3a.e space #or the great Raphael9& :n the ;*hibition Policies #or Raphael1s 3asterpieces Fig. 1= >iew of the current installation of the 2istine 3adonna in the +emäldegalerie /lte 3eister ?resden @0erbert -oswan., ?resden, 2taatliche 8unstsammlungen ?resdenA. “Raphael, or Ingres, or Picasso are meant Raphael in German and Italian museums during to be meditated upon. !" In order to med- the nineteenth centur) and up to the #irst hal# o# itate on a painting, it is essential to present the t%entieth century.[2] ,his stud) %as inspired it in a #avorable location and %ithin a calm b) (laudia -rin. and /ndreas 0enning1s care#ul atmosphere.& reconstruction o# the various hangings o# the 'e (orbusier[1] 2istine 3adonna #rom 1455, %hen the altarpiece arrived in 2a*on) a#ter its removal #rom the In this essa) I %ill discuss the e*hibition policies church o# 2an 2isto in Piacenza, to the present that %ere developed #or a #e% altarpieces b) day in its current location in the Gem7ldegalerie /lessandra +ali66i 8roegel 3a.e space #or the great Raphael9 .unstte*te.de 3/2015 - 2 <ig. 2= /dol# von 3en6el, Plat6 #Br den groβen Raf#ael9, Raphael in ?resden 1D55/5E, +ouache and pastel on paper, 5F * F2 cm, +er- manisches Gationalmuseum Gurnberg, 'oan o# the cit) of Gurnberg, @3oni.a Runge, +ermanisches Gationalmuseum “3ake space #or the great Raphael9&= a #amous Gurnberg). gouache b) /dolph 3en6el bearing this title (1D55/1D5EA @#ig. 2A illustrates an anecdote %hich ma) have circulated at the court o# 2a*on) #rom /lte 3eister in ?resden, %here it is e*hibited as the middle o# the eighteenth century, and %hich the clima* o# the %estern %ing1s stunning en#i- became %ell-.no%n not onl) in +erman) but to lade o# Italian galleries @#ig. -
Cain and Abel — a Lesson in Acceptable Worship
CHRISTADELPHIAN BIBLE MISSION EXPLORING THE BIBLE Lesson 5 CAIN AND ABEL — A LESSON IN ACCEPTABLE WORSHIP Reading: Genesis 4 After Adam and Eve were driven from the garden of Eden, Eve gave birth to two sons, first Cain and then Abel. We are given specific details of the occupations that these two men pursued. Abel was a shepherd, whereas Cain was involved in horticulture (v1-2). Verse 3 “In process of time” The Hebrew expression means “at the end of days”. This tells us that there was a set time for them to present an offering to God in worship. “Cain brought of the fruit of the ground an offering unto the Lord” No doubt Cain selected for his offering the best fruit he had grown. He was sure that God would accept what he wanted to offer Him. Verse 4 “Abel also brought of the firstlings of his flock and of the fat thereof” These details indicate that not only did Abel understand that he was to offer an animal, but he knew that God had made known the way to worship acceptably. He understood that the fat must be offered, which became a special feature later of the sacrifices under the Law of Moses (Leviticus 3:16-17). Offering the firstborn of the flock was also a feature of that Law (Exodus 13:2,12-15). Evidently these details had been explained to both Cain and Abel. So Abel made his offering because he not only understood what God required, but also wanted to please Him “The Lord had respect unto Abel and to his offering” Note the order that is set out here.