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In the first three decades of the twentieth century, artists, writers, musicians, and architects from both sides of the Atlantic interacted to create a modern style for Brazil. Their works shaped Brazilian national expression and self-definition for the twentieth century and into the present, with renewed relevance as Brazil plays an increasingly important role in global affairs. Artists such as Tarsila do Amaral and Roberto Burle-Marx are appearing for the first time in museums in the United States and Europe, along with the concept of antropofagia from the «Cannibal Manifesto», a theory of cultural autonomy and a model for fusion, hybridity, and assimilation. This book offers a cultural history and interpretation of Brazilian modernism in the arts and letters, exploring how modernism depends on transatlantic negotiation and develops through interchanges between Brazilians and Europeans.

The digital humanities intensify the cooperation between the science disciplines in terms of working tools, working methods, and working organization, and in terms of formulating research strategies and scientific objectives. The design for researching the networking of disciplines, approaches, and objects is reflected in the terms'Document - Object - Genesis'. This volume discusses the possibilities and limits in a wider factual and theoretical context using the example of the joint venture project entitled'Weser sandstone as global cultural asset - Innovation in the construction industry and its worldwide spread in the pre-industrial era (16th to 19th century)', in which art and architectural history, economic history, information technology, and architecture are discussed.

Through an interdisciplinary approach, this book explores the phenomenon of artistic migration in Paris during the Third Republic. This allows a comparison of case studies by researchers from different fields, and encourages reflection that goes beyond the disciplinary specializations of music, literature and the visual arts in order to produce a more general understanding of issues related to artistic migration in the French capital. This project offers insight into the formation of national imaginaries, the place occupied by foreigners in the artistic tradition of a territory, and the relationship among nationalism, internationalism, xenophobia and aesthetic judgment. Cultural historians, immigration historians and musicologists, as well as historians of art and literature, are the targeted readers. Cet ouvrage explore de façon interdisciplinaire (musique, littérature et arts visuels) la réalité de la migration artistique à Paris sous la Troisième République, donnant ainsi la possibilité à des chercheur(e)s issu(e)s de différents domaines de comparer leurs études de cas, et de formuler des réflexions qui dépassent leur champ de spécialisation en vue d'une compréhension plus générale des enjeux liés à l'immigration artistique à Paris. Ce thème offre une profondeur diachronique – donnée par l'histoire de la culture – aux réflexions actuelles sur la formation interculturelle des imaginaires nationaux, la place occupée par les étrangers dans la tradition artistique d'un territoire, ou encore les rapports entre nationalisme, internationalisme, xénophobie et jugement esthétique. Les historiens culturels, les historiens de l'immigration, les musicologues, les historiens de l'art et de la littérature constituent le large bassin de lecteurs ciblés.

Sometimes enjoying considerable favor, sometimes less, iconography has been an essential element in medieval art historical studies since the beginning of the discipline. Some of the greatest art historians – including Mâle, Warburg, Panofsky, Morey, and Schapiro – have devoted their lives to understanding and structuring what exactly the subject matter of a work of medieval art can tell. Over the last thirty or so years, scholarship has seen the meaning and methodologies of the term considerably broadened.This companion provides a state-of-the-art assessment of the influence of the foremost iconographers, as well as the methodologies employed and themes that underpin the discipline. The first section focuses on influential thinkers in the field, while the second covers some of the best-known methodologies; the third, and largest section, looks at some of the major themes in medieval art. Taken together, the three sections include thirty-eight chapters, each of which deals with an individual topic. An introduction, historiographical evaluation, and bibliography accompany the individual essays. The authors are recognized experts in the field, and each essay includes original analyses and/or case studies which will hopefully open the field for future research.

Exploring the concept and history of visual and graphic epistemologies, this engrossing collection of essays by artists, curators, and scholars provides keen insights into the many forms of connection between visibility and legibility. With more than 130 color and black-and-white photographs, Visible Writings sheds new light on the visual dimensions of writing as well as writing's interaction with images in ways that affect our experiences of reading and seeing. Multicultural in character and historical in range, essays discuss pre-Colombian Mesoamerican scripts, inscriptions on ancient Greek vases, medieval illuminations, Renaissance prints, Enlightenment concepts of the legible, and the Western'reading'of Chinese ideograms. A rich array of modern forms, including comics, poster art, typographic signs, scribblings in writers'manuscripts, anthropomorphic statistical pictograms, the street writings of 9/11, intersections between poetry and painting, the use of color in literary texts, and the use of writing in visual art are also addressed. Visible Writings reaches outside the traditional venues of literature and art history into topics that consider design, history of writing, philosophy of language, and the emerging area of visual studies. Marija Dalbello, Mary Shaw, and the other contributors offer both scholars and those with a more casual interest in literature and art the opportunity, simply stated, to see the writing on the wall.

Providing a distillation of knowledge in the various disciplines of arts education (dance, drama, music, literature and poetry and visual arts), the Handbook synthesizes existing research literature, helps define the past, and contributes to shaping the substantive and methodological future of the respective and integrated disciplines of arts education. While research can at times seem distant from practice, the Handbook aims to maintain connection with the lived practice of art and of education, capturing the vibrancy and best thinking in the field of theory and practice. The Handbook is organized into 13 sections, each centering on a major area or issue in arts education research. These areas include: History of arts education, curriculum, evaluation, cultural centers, appreciation, composition, informal learning, child culture, creativity, the body, spirituality, and technology. The individual chapters address cross-cultural research related to the central theme of the section from the perspectives of the particular arts discipline. Interludes provide reflective thoughts on the theme.