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'Nameless Motif'
112 Fig. 1 Anonymous, Tataouine area, Tunisia, c. 1920-50. Knotted rug with primary ‘nameless motif’. Wool, 156 x 128 cm. paul vandenbroeck The ‘Nameless Motif’: On the Cross-Cultural 113 Iconography of an Energetic Form Paul Vandenbroeck * As I strolled through a quiet Tuscan townlet on a late summer’s afternoon in * KMSKAntwerpen/IMMRC-KULeuven 1973, in the days before the rural hinterland was changed for ever by the tourist invasion, I was struck by the sight of an elderly lady sitting at a table by the entrance to her house. Displayed on the tabletop were various home-made items of lace and textile that she was offering for sale. As a student of the his- tory of art, I was all too familiar with canonised Art, with capital A, but en- tirely ignorant about domestically crafted textiles. Yet I stopped in my tracks, captivated as I was by an ungraspable aesthetics that was quite alien to me, as it was light years away from the universe of male-dominated Renaissance art. There was one piece, featuring both abstract and stylised patterns, that I found particularly attractive – despite myself. When I enquired about the price, the woman asked: ‘Are you married?’. I told her I was not. ‘Then I cannot sell this piece to you’, she said. I stood there dumbfound, unable to comprehend why this should be the case, and tried to assure her that I found the piece genuinely beautiful. Speaking in the local dialect, slowly and clearly for my benefit, she said she believed me, but that that was not the point. -
The La Trobe Journal No. 91 June 2013 Endnotes Notes On
Endnotes NB: ‘Scollay’ refers to Susan Scollay, ed., Love and Devotion: from Persia and beyond, Melbourne: Macmillan Art Publishing in association with the State Library of Victoria and the Bodleian Library, 2012; reprinted with new covers, Oxford: The Bodleian Library, 2012. Melville, The ‘Arts of the Book’ and the Diffusion of Persian Culture 1 This article is a revised version of the text of the ‘Keynote’ lecture delivered in Melbourne on 12 April 2012 to mark the opening of the conference Love and Devotion: Persian cultural crossroads. It is obviously not possible to reproduce the high level of illustrations that accompanied the lecture; instead I have supplied references to where most of them can be seen. I would like to take this opportunity to thank all those at the State Library of Victoria who worked so hard to make the conference such a success, and for their warmth and hospitality that made our visit to Melbourne an unrivalled pleasure. A particular thanks to Shane Carmody, Robert Heather and Anna Welch. 2 The exhibition Love and Devotion: from Persia and beyond was held in Melbourne from 9 March to 1 July 2012 with a second showing in Oxford from 29 November 2012 to 28 April 2013. It was on display at Oxford at the time of writing. 3 Scollay. 4 For a recent survey of the issues at stake, see Abbas Amanat and Farzin Vejdani, eds., Iran Facing Others: identity boundaries in a historical perspective, New York: Palgrave Macmillan, 2012; the series of lectures on the Idea of Iran, supported by the Soudavar Memorial Foundation, has now spawned five volumes, edited by Vesta Sarkhosh Curtis and Sarah Stewart, vols. -
Silence Studies in the Cinema and the Case of Abbas Kiarostami
SILENCE STUDIES IN THE CINEMA AND THE CASE OF ABBAS KIAROSTAMI by Babak Tabarraee M.A., Tehran University of Art, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Babak Tabarraee, 2013 Abstract This thesis is an attempt to formulate a systematic framework for ‘silence studies’ in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete , partial (uncovered; covered with noise, music, or perspective), character/dialogue , language , and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual , character/image , narrative , and political silences in Kiarostami’s oeuvre. -
Program in Comparative Literature the University of Texas at Austin
Program in Comparative Literature The University of Texas at Austin Comparative Literature Newsletter Director’s Note Summer 2017 We live in a networked and interconnected world, Letter from the Director 1 where rhyzomatically everything is connected to everything else, everything affects everything else, even as our perspectives on that world Fall 2017 Courses 2 emerge from the local and the personal. The field Degree Recipients 2 of Comparative Literature is itself a network sans Student News and Profiles frontiers, defined by our mission to “think across A Note From GRACLS 3 cultures and across languages” so as to imagine Prizes and Fellowships 4 and explore the human to its limits and maybe First Year Student Profiles 5 even beyond. By its nature, Comparative Literature Incoming Student Profiles 6 demands dialogue within and across national borders. Reflections on the GRACLS Conference 7-8 The free movement of students and scholars, to Student News & Profiles 8-14 and from universities, academic conferences, and Dr. Elizabeth Richmond- Garza other places of research and teaching, is therefore Faculty Publications 15-16 of the utmost importance to our field. In turn, the field and practices of comparative ACLA 2017 16 literature are important for fostering mutual understanding and respect across and among cultures, languages, ethnicities, religions, and national boundaries. Situated Alumni Profiles near our Texas border, with more than thirty languages represented by our students and Dr. Jillian Sayre 17 faculty, our program continues to see the world in terms of collaborative communities of thought whose very diversity ensures that intellectual inquiry remains a passport to understanding. -
Extremely Rare Large Beautiful Amber Enamelled Mosque Lamp Glass
EXTREMELY RARE LARGE BEAUTIFUL AMBER ENAMELLED MOSQUE LAMP GLASS each of waisted globular form of amber tint with wide flared neck, the sides applied with six suspension loops, enamelled in opaque red, blue, and white with additional gilt, with thuluth inscriptions on the body and neck, blazons in roundels depicting a bands of scroll, floral rosettes and foliate decoration, the foot with a gilt band. ORIGIN_FRANCE CIRCA_19TH CENTURY HEIGHT_54.6 CM CULTURE: ISLAMIC WORLD In the Islamic religion, the donation of a lamp was considered an act of reverence towards God. This act is connected to a text in the Koran that says in verse 35 of the sura “The Light”: “God is the light of the heavens and the earth! His light is like a niche in which one finds a lamp. The lamp is made of glass; the glass is like a brilliant star.” The analogy between the light and God inspired the donation of Mosque lamps such as this one as well as many others since figural representations of God are strictly forbidden by Islamic religion. The beginning of this verse was later reproduced by Mamluk glass lamps. These Mosque Lamp belongs to a group of enamelled and gilded mosque lamps of the late European 'revivalist' tradition of enamelled glass, distinguishable by their highly decorative and finely-applied designs. The thuluth inscriptions and blazons emulate the style of luxury items from the Mamluk age. Bibliography CARBONI, S. , Glass from Islamic Lands: The Al-Sabah Collection, Kuwait National Museum, New York, 2001, pp. 323-325. For an introduction to the production of enameled glass, see: CARBONI S., Mamluk Enamelled and Gilded Glass in the Museum of Islamic Art, Quatar, London, 2003, p. -
The Imaginal World and Modern Oblivion: Kiarostami's Zig-Zag1
Filozofski vestnik | Volume XXXVII | Number 2 | 2016 | 21–58 Joan Copjec* The Imaginal World and Modern Oblivion: Kiarostami’s Zig-Zag1 A1 zigzag path carved into a hill winds from base to crest, where it is crowned by a lushly-leafed tree standing solitary and upright like a kind of hieratic bouquet: this image recurs in three ¨lms – Where Is the Friend’s House? (1987); Life and Nothing More (1992); and Through the Olive Trees (1994) – which critics refer to as “the Koker trilogy,” simply because they are all set in the same location, the village of Koker in Northern Iran. Easily mistaken for a “found” image, part of the natural geography of the ¨lms’ actual setting, the recurrence of the image would seem to raise no questions nor require explanation. And yet there can be no confusing this image with natural geography, for as we learn from in- terviews, the ¨lms’ director, Abbas Kiarostami, did not just stumble upon this peculiar landscape while scouting locations. He had his ¨lm crew carve the pro- nounced zigzag path into the hill. An articial landscape, then, inserted by Kiarostami into the natural setting, it replicates, as it turns out, a miniature found in a manuscript executed at Shiraz in southern Persia at the end of the fourteenth century.2 In the miniature, just as in the Koker trilogy, a sinuous path curls up the side of a hill atop which sprouts a single, °owering tree. This miniature graces the cover of Spiritual Body and Celestial Earth, a book on Islamic philosophy in which the book’s author, the in°uential Iranologist, -
1182 Sharafiyya Complex in Bidlis
e-Şarkiyat İlmi Araştırmalar Dergisi/Journal of Oriental Scientific Research (JOSR) ISSN:1308-9633 Ağustos-2018 Cilt:10 Sayı:3 (21) / August-2018 Volume:10 Issue:3 (21) Sayfa:1182-1196 SHARAFIYYA COMPLEX IN BIDLIS: RETHINKING OF LOCAL HISTORY IN ISLAMIC ARCHITECTURE Birgül AÇIKYILDIZ ŞENGÜL* Abstract This article aims to discuss the architectural and decorative characteristics of the Sharafiyya Complex in Bidlis in its historical and geographical context. The complex was commissioned by Emîr Sharaf ibn Emîr Shams al-Dîn al-Roşkî, a member of the Kurdish Bidlis dynasty, in 935/1528-29. Emîr Sharaf Beg ruled Bidlis from 909/1504 to 940/1533. His son Shams al-Dîn Beg completed the complex by constructing a mausoleum for his father in 940/1533 after his death. The monumental complex was built during his alliance with the Ottomans when he governed his territory without the interference of the Ottoman Empire. The complex is formed of a mosque, a mausoleum, a zawiya, a fountain, a madrasa with a covered market, a qaysâriyya (bazaar) and a bath-house. Emîr Sharaf Beg endowed villages, arable lands, several shops, markets, a hammam and a flourishing mill to fund the complex. The article will first provide a brief historical background to the Bidlis dynasty during the reign of Emîr Sharaf Beg (909/1504-940/1533). Then it will describe and analyze the monuments forming the complex, and examine main features of the architecture of Sharafiyya Complex. Keywords: Islamic architecture, Kurdish architecture, Bidlis, Emîr Sharaf Beg al- Roşkî. BİTLİS ŞEREFİYE KÜLLİYESİ: İSLAM SANATINDA YEREL TARİHİ YENİDEN DÜŞÜNMEK Öz Bu makale, Bitlis'te bulunan Şerefiye Külliyesi'nin mimari ve süsleme özelliklerini tarihi ve coğrafi bağlamında tartışmayı amaçlamaktadır. -
THE ARMENIAN CULTURAL FOUNDATION Ticipating in Unveiling a Commemorative Plaque Rooms
NOVEMBER 2, 2013 MirTHErARoMENr IAN -Spe ctator Volume LXXXIV, NO. 16, Issue 4310 $ 2.00 NEWS IN BRIEF The First English Language Armenian Weekly in the United States Since 1932 School No. 44 in Nishan Atinizian Yerevan Named for Receives Anania Armenian ‘Orphan Rug’ Is in White House Hrant Dink Shiragatsi Medal from Storage, as Unseen as Genocide Is Neglected YEREVAN (Armenpress) — Mayor of Yerevan Taron Margaryan attended the solemn ceremony WASHINGTON (Washington Post) — The of naming the capital’s school No. 44 after President of Armenia rug was woven by orphans in the 1920s and By Philip Kennicott prominent Armenian journalist and intellectual formally presented to the White House in YEREVAN — Every year, during from Istanbul Hrant Dink this week. The 1925. A photograph shows President Calvin Armenia’s independence celebrations, the Information and Public Relations Department of Coolidge standing on the carpet, which is no mere juvenile effort, but a president of the republic hands out awards the Yerevan Municipality reported that aside complicated, richly detailed work that would hold its own even in the largest to individuals in Armenia and the diaspora from the mayor, Dink’s widow Rackel Dink, par - and most ceremonial who are outstanding in their fields and PHOTO COURTESY OF THE ARMENIAN CULTURAL FOUNDATION ticipating in unveiling a commemorative plaque rooms. have contributed to the betterment of dedicated to Hrant Dink. If you can read a Armenia. Hrant Dink was assassinated in Istanbul in carpet’s cues, the This year, among the honorees singled January 2007, by Ogün Samast, a 17-year old plants and animals out by President Serge Sargisian was Turkish nationalist. -
Open Murray Final Thesis V3.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ARCHITECTURE BRINGING TO LIGHT THE QUR’AN: THE THEOPHANY OF ALLAH BY MEANS OF LIGHTING DESIGN IN THE SÜLEYMANIYE MOSQUE STELLA DESTEPHANIS MURRAY SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Architecture and Italian with honors in Interdisciplinary Architecture and Architectural Engineering Reviewed and approved* by the following: Denise Rae Costanzo Assistant Professor of Architecture Thesis Supervisor James Gill Cooper Associate Professor of Architecture Honors Advisor Richard Mistrick Associate Professor of Architectural Engineering Honors Advisor * Electronic approvals are on file. i ABSTRACT In 1558, the Ottoman architect Koca Mimar Sinan Agha (c. 1488-1588) began construction on the Süleymaniye Mosque in Constantinople (Istanbul). Commissioned by Sultan Süleyman (1494-1566), the mosque was built early in Sinan’s career even though it was soon considered a masterpiece. The Süleymaniye Mosque drew significant inspiration from the nearby Hagia Sophia (532-37), a monument built a thousand years earlier for a different religion (Byzantine). Despite the differences in their theological origins, these two works of architecture in the same city share similar structural systems and lighting strategies. Although both the Süleymaniye Mosque and Hagia Sophia were designed to dramatize daylighting, the former has been more successful. Whereas Hagia Sophia is relatively dim inside, natural light alone fully illuminates the upper half of the Süleymaniye Mosque. In the lower half of the mosque, the simple yet effective mosque lamps serve as task lighting for Muslims who wish to pray. Architectural historians have studied the Süleymaniye Mosque extensively, investigating topics that range from the mosque’s political role in the Ottoman Empire to the comparison of oil mosque lamps and their LED counterparts. -
Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
NYU Abu Dhabi Bulletin 2010-2011
2010 BULLETIN – 2011 ABU DHABI NEW YORK UNIVERSITY NEW YORK Welcome Center in Abu Dhabi NYU NYU Abu Dhabi Downtown Campus PO Box 129188 Behind the ADIA Tower and across Al Nasr Street from the Cultural Foundation Abu Dhabi, United Arab Emirates Tel: +971 2 628 4000 Welcome Center in New York ABU DHABI New York University 19 Washington Square North New York, NY 10011 Tel: +1 212 992 7200 BULLETIN nyuad.nyu.edu 2010–11 NEW YORK UNIVERSITY ABU DHABI BULLETIN 2010-11 P.O. Box 129188 Behind the ADIA Tower & across Al Nasr Street from the Cultural Foundation Abu Dhabi United Arab Emirates The policies, requirements, course offerings, and other information set forth in this bulletin are subject to change without notice and at the discretion of the administration. For the most current information, please see nyuad.nyu.edu. This bulletin is printed on 100% post-consumer recycled paper. The paper is certified by the Forest Stewardship Council, carbon neutral, and manufactured with 100% wind-power. INTRODUCTION ACADEMIC POLICIES 2 Welcome from Vice Chancellor 198 NYUAD Community’s Commitment Alfred H. Bloom to Integrity 4 The World’s Honors College 198 Course Load 6 Pathway to the Professions 198 Grading 8 An Overview of New York University 199 Adding and Dropping Courses 9 About Abu Dhabi: A New World City 199 Withdrawal from a Course 200 Incompletes and Leaves of Absence BASIC INFORMATION 200 Pass/Fail 11 Programs at a Glance 201 Academic Standing 12 Academic Calendar 201 Exemptions 14 Bachelor of Arts and Bachelor of 201 Transfer Courses Science -
Iranian Cinema Syllabus Winter 2017 Olli Final Version
Contemporary Iranian Cinema Prof. Hossein Khosrowjah [email protected] Winter 2017: Between January 24and February 28 Times: Tuesday 1-3 Location: Freight & Salvage Coffee House The post-revolutionary Iranian national cinema has garnered international popularity and critical acclaim since the late 1980s for being innovative, ethical, and compassionate. This course will be an overview of post-revolutionary Iranian national cinema. We will discuss and look at works of the most prominent films of this period including Abbas Kiarostami, Mohsen Makhmalbaf, Bahram Beyzaii, and Asghar Farhadi. We will consider the dominant themes and stylistic characteristics of Iranian national cinema that since its ascendance in the late 1980s has garnered international popularity and critical acclaim for being innovative, ethical and compassionate. Moreover, the role of censorship and strong feminist tendencies of many contemporary Iranian films will be examined. Week 1 [January 24]: Introduction: The Early Days, The Birth of an Industry Class Screenings: Early Ghajar Dynasty Images (Complied by Mohsen Makhmalbaf, 18 mins) The House is Black (Forough Farrokhzad, 1963) Excerpts from Mohsen Makhmalbaf’s Once Upon a Time, Cinema (1992) 1 Week 2 [January 31]: New Wave Cinema of the 1960s and 1970s, The Revolution, and the First Cautious Steps Pre-class viewing: 1- Downpour (Bahram Beyzai, 1972 – Required) https://www.youtube.com/watch?v=m-gCtDWHFQI 2- The Report (Abbas Kiarostami, 1977 – Recommended) http://www.veoh.com/watch/v48030256GmyJGNQw 3- The Brick