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The pioneering depiction of male nudes by the Cypriot painter Andreas Karayan (b. 1943) caused quite a stir in the Cypriot art scene, when exhibited from the late 1970s onwards. Using Constantine Cavafy’s poetry as a starting point and recurring reference, Karayan portrays the male nudes as both sexual(ized) subjectivities, as well as, and because of their eroticism, embodiments of social protest and queer subversion. Even more subversive, however, are some other works, from the late 1970s and through the 1980s: images of (fully dressed) young men in public spaces – bus stops, streets, coffee shops – and of sailors and soldiers in seemingly banal conditions (for instance, resting before or after an official parade). Such works, for the first time in Cypriot art, not only brought, literally, into the open, (homo)erotic desire (gazes are exchanged, seeking response, or are directed toward the viewer), but they are also imbued with political irony and critique that interrogate issues, and queerly subvert discourses, of power, desire, and national and other ‘sacred’ symbols of collective identity.

This article focuses on the representation of St Lucy in early Iberian art and literature, considering the extent to which her identity becomes subject to procedures of evolution. In some artworks, Lucy is characterized as the saint who could not be moved either by men or yokes of oxen. Yet in others she is presented either as the saint who was blinded, or more radically, as a figure who suffers a forced mastectomy. The article argues that her example, which raises broader implications for the study of hagiography and of identity in general, shows that we should avoid focusing on representations of saints that are confined exclusively either to art or to literature.

Museums depend on language to develop their museum discourse. Texts are necessary and cover a wide range of functions. Language can be presented in oral or written form, but in both cases, translation is essential to complete the communicative function of the museum. The translated word is intended for a foreign audience, and the translation must consider the subordination of the source text to the works on display, and its position in the hierarchy of the museum's other texts. In the museums of Madrid's art triangle, the written word, the spoken word, and the translated word are present; all three museums follow an appropriate strategy in terms of the translation of the texts that they produce. Through a detailed analysis of the audio guides offered in these museums of Madrid, chosen as an example of oral text, and the catalogues of temporary exhibitions, chosen as an example of written text, we conclude that orality or writing can influence certain translatology aspects, such as the choice of target language(s) or the authorship of translations.

This study attempts to identify the theme of light in the imagery of ancient Greco-Roman and Christian art through a comparative analysis of the context and evolution of artistic language before and after the Christianization of the Roman Empire. An essential criterion in understanding the new aesthetic paradigm and highlighting the means of artistic expression characteristic to the two periods temporally delimited by the event of the Incarnation, is the way in which artistic consciousness relates to divinity. The acceptance or not of the Revelation, the reflection in religious art of the fact that God became Man and He has a Face, as opposed to other philosophical quests and religious systems that dress up the idea of divinity and its attributes in the face of the gods, personifying it or imagining it symbolically, – makes the difference. God communicates Himself to man through light, light being the common denominator of any epistemology, without placing in competition or in opposition the knowledge that comes to us through Revelation with that acquired by man through scientific experiments. Paradox is a mark of light. Science has proven it with the wave-particle dualism of quantum mechanics and theology fully confirms it. Light is a Person who says of Himself that He is: ‘The Light of the World’. (John 8, 12). The theme of light has multiple meanings in biblical exegesis; from the metaphorical image that runs through the Book of Revelation to that of the incorporated Light (Lux incorporata), an interpretation that refers to the Mystery of the Incarnation, to the world transfigured by grace, to the uncreated light communicated to people by the heavenly hierarchies through the Church in the form of the Holy Mysteries. In the world of late Roman antiquity, and later in the Byzantine world, there was a belief that the veining or luminous veins of colored marble, gemstones or translucent stones were embedded rays of light, an intervention of divine light in the rock. The uniqueness of these ‘graphic accidents’ was interpreted as signs of God in the creation that suggests the unseen, the unusual, the ineffable, in short, the paradox of the Christian world summed up in this confession: that God is both One and Three, that Christ is both Man and God, and that Mary is both the Mother of God and the Virgin. The art of mosaics and stained glass, as well as the entire decorative complex of precious stones, gems and polychrome marbles adorning objects of worship and liturgical furnishings, is built on a long tradition that aesthetically and theologically values the motif of light. Dogmatic notions such as hypostatic union and perichoresis are symbolically translated into visually striking plastic expressions – provided by the natural textures of the cut and polished rocks – with the sole purpose of suggesting the dogmatic ‘contradictions’ of the Kingdom of Light which, as they say, ‘already exists, but not yet’.

It was mainly thanks to the efforts of the Belgian artist Laurent Moonens, who had founded an art academy in the then Belgian Congo, that a group of young art students from Lubumbashi were able to travel to the 1958 World Exhibition in Brussels. Today, their works are regarded as the first generation of modern art in the DR Congo. At the time, the issue of modern art in the Congo was incorporated into the national tasks of the Belgian colonial power; voices criticising power relations or definitions are difficult to find in the sources. Nevertheless, the way in which these works were presented at the World Expo was not a matter of course at the time. This essay analyses the conditions of this very first exhibition, in which European and Congolese works were shown together. All those involved embraced an idea of "humanism", albeit their respective conceptions of it varied.

O presente estudo examina o art. 412 do Código Civil, que limita o valor da cominação prevista na cláusula penal ao “valor da obrigação principal”. Assim como o art. 413 do Código Civil, a norma tem por objetivo coibir abusos na fixação da penal. Todavia, em que pese o louvável propósito subjacente ao art. 412 do Código Civil, nota-se o estabelecimento de um limite rígido e artificial, que já era objeto de crítica à época do Código Civil de 1916. Entre outras percepções, tem-se que muitas vezes a obrigação principal não tem um preço definido no contrato, ao que se soma a preliminar dificuldade de se definir qual obrigação pode ser considerada principal. Ao enfrentar o tema, o presente estudo sustenta que a expressão “valor da obrigação principal” não seja automaticamente identificada com o preço porventura pactuado a título de contraprestação pecuniária. O “valor da obrigação principal” deve ser buscado a partir do conteúdo econômico do contrato, inclusive levando-se em consideração o resultado útil legitimamente associado ao programa contratual. O estudo empreendido, pautado na análise da bibliografia nacional, se desenvolve a partir do método lógico-dedutivo.

Dès les débuts du cinéma hollywoodien, les images documentant les Jeux ont constitué une source d’inspiration. En témoigne par exemple le film Charlie Chan at the Olympics (Humberstone, 1937) dans lequel de vraies images d’actualité des Jeux de 1936 sont diffusées. Depuis, nombres de long-métrages similaires ont vu le jour, certains ayant touché un large public : ils forment ensemble une constellation d’images cinématographiques, une projection du monde. D’un côté, les cinéastes remploient les images captées au moment des Jeux olympiques afin d’appuyer leur version de l’histoire, et, de l’autre, le 7ème art transforme les images en symboles narratifs servant l’avancement de récits. Dans cette perspective, trois grands types d’images sont ici retenus dans le but d’esquisser une histoire fictionnelle des Jeux au cinéma : évènementielle, sportive et morale.

The present paper has as its focus the decoration of the Princely Church’s semi-dome; an iconographic context which offers a display of the enthroned ever-Virgin holding Jesus in her arms. Such a decoration is not normally problematic if it were not for the adjunction of two holy figures on the sides. This original screen captures familiar devotional practices, as well as bringing together both the patronal aspect, linked directly to St. Nicholas to whom the church is dedicated, and the liturgical one, related to St. John Chrysostom, in his quality as the author of a Liturgy. The foundation of the Wallachian Ecclesiastical Metropolis in 1359 was the occasion for this innovative display. It is stated that Constantinopolitan norms were observed in the choice of the iconography yet its affiliation to a precise monument remains unresolved. The painters intended, in this case, to portray not merely an ordinary Virgin and Child, but to portray what is to be considered a local identity pattern. The last part of the article is dedicated to the liturgical inscription under the semi-dome. In author’s opinion, its presence reflects a debate aroused at the Lavra Monastery on Mount Athos. An analysis of the historical context suggests the years for the completion of the wall-paintings at an already advanced date, most likely, 1364/5.

This article is situated within the context of exploring transnationality, circulation, and mobility as methodological devices/operational concepts in analyzing artistic artifacts, artists, and knowledge in motion. It delves into the interaction between art history and the global configuration of the contemporary age, reflecting on the application of methodological proposals from the global turn in the social sciences to the analysis of artistic mobility during the early modern period. Within this broader exploration, the article delves into the multifaceted nature of the genesis of reflections that have led to the emergence of global art history as a constellated phenomenon. It argues that the questioning of paradigms and the introduction of new terminology into the discipline cannot be solely attributed to art history itself. Instead, it emphasizes the need to examine the close association between this approach and broader movements of thought and historiography. At its core, the article highlights the crucial need for reevaluating language, lexicon, and research practices within historiographical movements. It advocates for the deconstruction of existing narratives and the creation of counter-narratives through a reconsideration of the terminology employed. This process fosters imaginative exploration bringing artistic analysis closer to current debates and ongoing reformulations of research practices.

(Series Information) European Papers - A Journal on Law and Integration, 2023 8(1), 191-219 | Article | (Table of Contents) I. Introduction. – II. Evolution of Animal Welfare Law and policy in EU agriculture. – II.1. Minimum animal welfare standards. – II.2. CJEU interpretation. – III. Art. 13 TFEU: mainstreaming animal welfare in EU agriculture policy. – III.1. Legal effect. – III.2. Limitations and tensions. – IV. CJEU reading. – IV.1. Halal Grand Chamber. – IV.2. Centraal Israëlitisch Consistorie van België Grand Chamber. – IV.3. An EU market? – IV.4. Art. 13 TFEU: read as a whole. – V. Comments in conclusion. | (Abstract) Minimum standards of welfare for farm animals in harmonised EU norms derive from the Treaty Title on Agriculture in the absence of a conferred competence in animal welfare. Subsequently, a competence “of sorts” in animal welfare has been inserted into the Treaties in art. 13 of the Treaty on the Functioning of the European Union (TFEU). Art. 13 TFEU incorporates an integrative stipulation to pay full regard to the welfare requirements of animals as sentient beings in the formulation and implementation of certain EU policies, inclusive of EU agriculture policy, while respecting the customs of Member States relating in particular to religious rites, cultural traditions and regional heritage. Yet, in the constitutional framework of the Treaties there are limitations, and tensions arise between EU policy in agriculture and the non-market objective of animal welfare. Art. 13 TFEU is not driving evolving EU policy in farm animal welfare or EU legislative revision; the legal force of art. 13 TFEU remains in doubt. Concomitantly, recent CJEU Grand Chamber rulings in EU agriculture/animal welfare law read in the light of art. 13 TFEU have recognised the marked social and cultural momentum to improve the welfare of animals in agriculture, and reinforced the constitutional standing of art. 13 TFEU, with positive implications for animal welfare mainstreaming. This Article explores the application of art. 13 TFEU in EU agriculture policy, and reasons that the scope exists for the CJEU further to exploit its potential.

Le Fake Art n’est pas l’Art Fake : l’article vise à montrer que les artefacts numériques natifs sont fictionnels en ce que, ni faux, ni copie ni réplique pures, ils mettent en tension des traits des régimes autographique et allographique. Ensuite, il s’agit de s’interroger sur la dimension « imaginaire » de l’œuvre d’art numérique, à travers la mise en avant des notions de « fiction artistique », de simulation et de simulacre : passer de la fiction artistique à l’œuvre-simulacre et au virtuel, est-ce dépasser les oppositions « vrai vs faux » et « réel vs imaginaire » et mettre l’accent sur la puissance créatrice ? In fine, nous défendons l’idée de la fiction-façonnage, qui attire l’attention sur la fabrication de l’artefact numérique.

Review of Arthur M. Jacobs, Neurocomputational Poetics. How the Brain Processes Verbal Art. Anthem Press, 2023.

This article discusses the third instalment of Ali Smith’s Seasonal Quartet, a work whose complex multi-voiced narrative addresses various important issues including the role of art in the contemporary world. The authors of the article employ two theoretical frameworks, Bakhtin’s theory of dialogism and Vermeulen and van den Akker’s studies on metamodernism, to argue that Smith adopts a dialogical approach to the theme of art. With the help of close reading the authors map the dialogical clashes between the main voices and the semantic positions which are taken in order to demonstrate that the central dialogue presented within the novel is that between postmodern and metamodern sensibilities. Special attention is paid to the character Richard who represents the clear replacement of the postmodern sensibility with a metamodern approach through his semantic position, as is informed by his search for universality in art, his neo-romantic turn to the appreciation of the beauty of nature and his rejection of the postmodern trends that produce superficial and inauthentic forms of art.

Acabada la Guerra Civil Española, la dictadura franquista emprendió la labor de devolver a sus lugares de origen el patrimonio histórico-artístico mueble que los gobiernos de los territorios leales a la República habían almacenado en depósitos de protección. A partir de 1939, una parte sería depositada por el Servicio de Defensa del Patrimonio Artístico Nacional (SDPAN) en museos públicos, organismos de todo tipo y particulares. Uno de los museos agraciados con aquellos depósitos fue el actual Museu Nacional d’Art de Catalunya, que ingresó 146 obras de arte entre 1939 y 1958. Este artículo se centra en las obras de arte depositadas por el SPDAN en el museo catalán que fueron devueltas a sus legítimos propietarios en distintos momentos entre 1946 y 2010.

Abstract This article continues Vygotsky’s efforts in investigating the social genesis of affective generalization in artistic creative and reception process proposed in On the problem of the psychology of the actor’s creative work. Affective generalization abstracts emotions and feelings from the individual to the social plane and from the mundane to the hyper-generalized level. Based on an examination of Vygotsky’s aesthetic ideas, we introduced Chinese philosopher Defeng Wang’s work in philosophy of art under the existential approach. Finally, we propose to adopt the cultural psychology of semiotic mediation as a framework to capture this dynamic process.

The essay analyzes a number of examples of the use of the male nude in photographic and performance works made in Italy between the 1960s and 1980s, starting from the hypothesis that merely departing from the norm – represented by the female nude – is already a noteworthy fact. In some of the cases analyzed, the artists explicitly thematize androgyny from literary references, or propose Afrodescendant subjects in contexts that evoke overwhelm. For female artists, however, this choice seems consistent with a commitment to challenge and overturn the usual gender clichés, sometimes ridiculing the male figure. The conclusions of this initial investigation will need to be verified with desirable systematic studies of the use of the male nude in the years of affirmation of both the feminist movement and the first manifestations of self-organization and homosexual pride.

AI image generation represents a logical evolution from early digital media algorithms, starting with basic paint programs in the 1970s and advancing to sophisticated 3D graphics and media creation software by the 1990s. Early algorithms struggled to simulate materials and effects, but advances in the 1970s and 1980s led to realistic simulations of natural phenomena and artistic techniques. Generative AI continues this trend, using neural networks to combine and interpolate visual patterns from extensive datasets. This method of digital media creation underscores the modular and discrete nature of computer-generated imagery, distinguishing it from traditional optical media.

L’article prend le contrepied de la thèse selon laquelle la vraisemblance serait la principale mesure-étalon de la recevabilité d’une fiction. Arguant du fait qu’il y a toujours quelque chose d’invraisemblable dans le sujet d’une fiction – les fictions réussies, à ce sujet, ne sont pas en reste –, l’article avance l’hypothèse qu’une certaine dose d’invraisemblance est consubstantielle à la nature même de la fiction. Cette hypothèse est mise à l’épreuve d’une bande dessinée qui, par son côté imprévisible et transgressif, bat en brèche les paramètres qui sous-tendent l’évaluation de son degré de vraisemblance. Loin d’être l’expression d’un vice de forme poétique, les aspects invraisemblables de cette fiction (Poulet aux prunes de Marjane Satrapi) sont la clé d’une stratégie de mise en cause méthodique et délibérée des paramètres culturels qui façonnent le rapport de la société à l’imaginaire fictionnel. Mimétisme aidant, la portée de cette mise en cause s’étend à toutes les situations de la vie réelle qui ressemblent aux situations représentées dans la fiction. Se renouvelle ainsi la vocation inscrite dans le tournant phylogénétique qui a présidé à la naissance des toutes premières fictions : repenser en termes non-dogmatiques le rapport de l’homme aux croyances, en adoptant à leur égard une attitude mentale plus distancée et critique : le « faire semblant ».

This article outlines some of the "Literacy, Gender and Diversity (LITGENDI)" (UV-SFPIE_PIEE-2732068) project outcomes, coordinated by the University of València’s Faculty of Teacher Training (2022-24). Integrating a feminist point of view towards art into English as a Foreign Language (EFL) classrooms, this project aimed to deepen learning through critical engagement with social issues and celebrate female artistic figures, enhancing students’ critical consciousness. Implemented in a Valencian artistic baccalaureate, this multimodal approach proved to significantly boost student motivation and engagement by adopting arts from a feminist viewpoint. Despite its limited timeframe and sample size, the project showcases the impactful role of arts in fostering inclusivity and addressing gender inequality in education. It advocates for an academic shift towards transformative learning and curriculum innovation, emphasizing the importance of content selection to prepare students for global challenges. LITGENDI exemplifies art's power in revitalizing EFL multimodal education and promoting transformative student engagement.

(Series Information) European Papers - A Journal on Law and Integration, 2022 7(3), 1405-1429 | Article | (Table of Contents) I. Introduction. - II. Different levels of social mainstreaming and EU law. - II.1. The relationship be-tween the economic and social at EU level. - II.2. Art. 9 TFEU. - III. A story of hope (I): Art. 9 TFEU, EU competition law, and the Four Freedoms. - III.1. The "social exemption" for collective bargaining. - III.2. Social interests as an exception ground to free movement. - IV. A story of hope (II): Art. 9 TFEU and EU legislative harmonisation. - IV.1. The internal market legal bases of inter alia art. 114 TFEU. - IV.2. The importance of art. 153 TFEU in making the EU internal market more socially inclusive. - V. Fears undermining the safeguarding of social interests in the EU single market through art. 9 TFEU. - V.1. Relatively vague and unclear wording of art. 9 TFEU. - V.2. The constitutionalisation of EU (free movement) law and the unclear scope of EU fundamental social rights protection. - V.3. The (some-times) flawed reasoning in the case law on EU free movement law. - V.4. The question of competence, technological innovation and digitalization. - VI. Conclusion. | (Abstract) In this Article, we assess to what extent art. 9 TFEU, which contains the social mainstreaming clause, may be used to shore up the social dimension of the EU Single Market. The story of hope of a more socially inclusive internal market starts with the "porous" EU internal market legal framework itself and ends with art. 153 TFEU and the European Pillar of Social Rights. Yet, there are also fears that, despite the language of social mainstreaming, the EU cannot deliver on the promise of art. 9 TFEU for various reasons, including the limited legislative competences of the EU to pursue social policies. While we mainly want to emphasize the story of hope, we will also look into the fears and how some of these could be addressed.

Though we do not usually associate the art of single combat with the Eastern Roman Empire, we know from the sources that Eastern Roman soldiers were well trained for single fight – indeed, a needed skill in any professional army – and that they often engaged in duels, both with enemy’s “champions” or in the heat of battle. This article has the aim to analyze the extant evidence concerning training, feats of arms and the evidence of single combat itself in the Eastern Roman Empire (from Late Antiquity to the Middle Ages).

What are the contaminations between art and architecture in today’s world? In the relationship with the architectural and urban space, what role does art play whenever art and architecture come into contact? Quoting James Ballard, the title of the present essay represents a sort of provocation, especially in case of association with Canaletto’s famed Capriccio palladiano and to the in some ways inappropriate usage that Aldo Rossi made of it. Starting from the observation that the composition made by Canaletto is, in a certain way, truer than Venice itself, one might wonder about the role of art in the construction of the architectural and urban image and, through some examples, affirm that in the present time art is a kind of seismograph that pushes architects to look beyond, to investigate the field of the unspoken or the unthinkable and it is used, in many cases, as a device to substantiate architecture itself and its outcomes. How and through which instruments? The answer lies in the works as mere instruments used to go back to the (implicit or explicit) canons and codes used, or perhaps to get to admit that, conversely, they often fade into a hermeneutic of the indeterminate, in relation to which identifying limits and boundaries seems increasingly difficult. Who makes what, between art and architecture? Ballard explains it masterfully and some artists show it clearly. The whole complex of these experiences is bound to the (solid) architecture and its theoretical corpus together with the desire to reflect on processes, procedures, transcriptions, and metamorphoses capable of feeding architecture and its languages.

This essay locates a late 19th-century category of objects variously named as 'industrial' or 'decorative arts' within the specifically imperial institutional circuit of the World Exhibitions. Taking up a segment of the World Exhibitions of the 1880s, it traces a history which connects the three cities of Calcutta, London and Glasgow and creates a trail of travelling exhibits and museum collections of this most proliferating category of objects. It follows in particular the career of the Bengali exhibition commissioner and museum curator Trailokya Nath (T.N.) Mukharji and the anthology he compiled on the Art-Manufactures of India for the Glasgow International Exhibition of 1888 to map a specific network of commissioning, collecting, cataloguing and documenting India’s 'art-manufactures'.

O art. 405 do Código Civil prevê que “contam-se os juros de mora desde a citação inicial”. Há duas linhas de interpretação desse dispositivo. A majoritária defende que ele prevê uma regra supletiva, aplicável apenas aos casos em que não haja dispositivo específico prevendo outro momento de constituição do devedor em mora. A minoritária afirma que o art. 405 é uma regra geral, aplicável a todos os casos. A posição majoritária deve prevalecer, mas não pelos fundamentos apresentados pelos seus partidários. Por outro lado, de lege ferenda, o art. 405 deve ser revogado, pois a sua redação é equívoca e dispensável. Equívoca, porque o dispositivo aparentemente prevê regra diferente da que efetivamente vigora. E dispensável, porque, sem esse dispositivo e pelas regras gerais de mora e perdas e danos, a contagem dos juros se daria da mesma forma.

Dans Rue du pardon, Mahi Binebine nous donne à lire un conte merveilleux où l’enfant affronte la laideur de son milieu impitoyable et la monstruosité de ses parents défaillants et coupables d’une double transgression. Ces épreuves transforment le conte en roman et l’enfant exposé (abandonné à son sort) en être émancipé. Après l’expérience du rejet et l’épreuve traumatisante du viol, l’héroïne, sauvée et guidée par la diva Serghinia, trouve dans les arts de la scène (la danse et le chant) un refuge salvateur et, surtout, une voix qui lui permet de dire et d’exorciser l’abjection. Le corps féminin maltraité est resculpté pour devenir une œuvre d’art vivante. Comme dans d’autres romans, notamment L’Ombre du poète, Terre d’ombre brûlée et Le Seigneur vous le rendra, Mahi Binebine, dans Rue du pardon, met l’artiste au centre de la représentation. Cet article essaie de montrer comment le romancier, réhabilitant la chikha, une figure artistique féminine du patrimoine populaire marocain, promeut un féminisme discret où l’art devient un moyen d’accès à la liberté et une dénonciation de l’hypocrisie sociale.

In recent decades, there has been a shift in the approach, revaluation, and preservation of architectural heritage, emphasizing the importance of contemporary society’s reinterpretation of historical and identity components from a comprehensive perspective that enables new developments and reappropriations. In this context, a pictorial turn also takes place through which heritage no longer remains confined to fixed meanings. Instead, new images with a life of their own emerge, transitioning from traditional representation to presentation. Within this context, this article aims to investigate the images generated around Rosario’s port heritage, which began to transform with the reinvention of the river in the mid-1980s and continues in process today. It focuses on the study of grain storage silos, initially known as Davis, transformed in 2004 into the Museum of Contemporary Art of Rosario (MACRO). The research uses a transdisciplinary qualitative methodology combining urban-architectural heritage, cultural and visual studies. It is recognized that the diverse images generated in recent years around the architectural heritage of the silos have facilitated new and everyday appropriations by the city’s inhabitants, redefining it as a new urban icon. This process has sparked a reimagining of the city’s heritage, history, and memory with images that speak for themselves and generate new individual and collective meanings.DOI: https://doi.org/10.20365/disegnarecon.31.2023.21

Recensió de Pradilla Cardona, Miquel Àngel. (2022). Catalan Sociolinguistics. State of the art and future challenges. John Benjamin.

O recente §13 do art. 6º da Lei nº 11.101/05, que regula a recuperação judicial, a extrajudicial e a falência do empresário e da sociedade empresária, foi introduzido pela Lei nº 14.112/20, e tem dois objetivos distintos identificáveis na redação. A primeira parte do dispositivo visa excluir dos efeitos da recuperação judicial aqueles atos entre cooperativas e cooperados, enquanto a parte final declara que as cooperativas operadoras de plano de saúde estão sujeitas à lei. Apesar da sua propositura ter origem há mais de 15 anos, os impactos da pandemia de coronavírus reacenderam o interesse na discussão, gerando a promulgação do dispositivo em 2020. Todavia, os efeitos pretendidos pelo legislador chocam-se com normas infraconstitucionais, além de sua tramitação padecer de inconstitucionalidade formal. A presente pesquisa se propõe a explorar tais óbices, verificar e resolver as antinomias evidenciadas e analisar o trâmite legislativo e a existência de inconstitucionalidade formal. O método de abordagem utilizado foi o hermenêutico-fenomenológico, o método de procedimento aplicado foi o monográfico e comparativo, e as técnicas de pesquisa empregadas foram a bibliográfica e documental.

Since the 1970’s to the present day, our notions of world heritage and archaeological heritage have changed greatly, a fact that is reflected in the different conventions and charters of ICOMOS and UNESCO. In this research we explore what these changes have been, the state of the art of rock art worldwide, and what are the trends towards the future of heritage declarations, delving into the specific case of outdoor rock art, since its fragile and accessible nature requires specific management plans appropriate to its needs and characteristics, and how the growing trend of naming cultural landscapes as world heritage can be a powerful tool for the conservation, protection and dissemination of these heritage assets and their environments. The main objective of our research lies on the identification of the main features of open-air rock art on the UNESCO World Heritage List, establishing their current situation as to their preservation and social awareness and the policies developed in each particular case. This will be done through research and bibliographical approximation of various research sources, as well as official resources already mentioned: World Conventions, recommendations and ICOMOS charters as reference instruments in the declarations and management strategies of archaeological heritage and rock art.

The opening of the Guggenheim Museum Bilbao in 1997 intensified a discernible presence of monuments, museums, galleries and other establishments in its surroundings by defining a cultural district. In this gentrified neighbourhood, there are still a few artists-run spaces left, while ever more studios of architects and designers are spreading by the riverside, where the domino effect seemingly results in a musealisation of public art as civic heritage and a tourist attraction.

O artigo apresenta breve investigação sobre os limites e possibilidades de uma interpretação contratual que se baseie nas premissas construídas pela análise econômica do contrato em um sistema de Civil Law, ressaltando, em um primeiro momento, os sentidos que levam à interpretação e/ou integração do contrato segundo a análise econômica, principalmente a partir da ideia de incompletude contratual, bem como a centralidade e superação do conceito de eficiência para a solução interpretativa. A segunda parte é dedicada à compreensão dos impactos das recentes modificações promovidas no Código Civil, ressaltando as controvérsias existentes acerca de um conceito de "racionalidade econômica" e as possíveis adequações do referido conceito ao sistema civil brasileiro. Palavras-chave: Interpretação Contratual. Análise Econômica. Eficiência. Racionalidade. Civil Law.

(Series Information) European Papers - A Journal on Law and Integration, 2022 7(1), 333-343 | European Forum Insight of 22 June 2022 | (Table of Contents) I. Introduction. - II. The scope of art. 218 TFEU. - III. The internal procedure for the conclusion of international agreements by the CJEU. - IV. The different role of the institutions involved. - V. The peculiarity of some Hague Conventions on private international law. - VI. Council's internal voting rules. - VII. Conclusions. | (Abstract) Setting the general procedure to be followed for the conclusion of international agreements, art. 218 TFEU allocates the powers of the different institutions involved and - compared to the pre-Lisbon legal framework - strengthens the role of the European Parliament. It is therefore with respect to this provision that the status and prerogatives of the EU vis-à-vis third States must be analysed, as it frames the lifecycle of the international agreements and the rules the EU institutions are bound to follow in this regard. However, while its pattern seems suitable whenever the EU must conclude an international agreement which entails a positive expression of position, doubts arise as regards those conventions which foresee an accession, based on a non-objection mechanism. This Insight explores, in the light of the duty to practice mutual sincere cooperation stemming from art. 13 TEU, some practical disadvantages of its application and the controversial issue of the Council's internal voting rules.

The article deals with the emergence of industrial art museums in Russia in the 1860s and anticipates some of the results of a major study on Russian decorative arts and World Fairs between 1851 and 1900. The history of these museums in Moscow and St. Petersburg between 1862 and 1870, which is very little known both in Russia and abroad, is chosen to illustrate, on the example of Russia, a common phenomenon in Europe in the 1850s-1870s, namely the appearance of industrial art museums to stimulate the development of national industries. The research is based mainly on the analysis of hitherto unexplored archival documents.

The purpose of this scientific article is the detection of various influences from theatrical choreographic art on wind solo compositions as well as the revealing of their functions in the academic masterpieces by the Ukrainian and foreign composers of the second half of the 20th century – the beginning of the 21st century. These are concrete musical works: “Harlequin” – solo for clarinet by K. Stockhausen (1975), “Basta” – solo for trombone by F. Rabe (1982), “Homo ludens ІХ (oboe: me and oboe) the nine non-accidental stops for – solo for oboe by V. Runchak (2011) and “Interview on a given topic” –solo for clarinet by V. Martyniuk (2014). The methodology of this investigation is based on the interaction of the following methods: there are methods of analysis and synthesis, the method of performing analysis – targeted on the discovery of theatrical choreographic specifications in wind solo compositions. This is a structurally functional method, which permits to construct a series of functions concerning theatrical choreographic elements in famous wind solo masterpieces. The scientific newness of this investigative article is conditioned by the amazingly poor and unsatisfactory knowledge in relation to studying the phenomenon of arts synthesis in contemporary academic wind musical performing art, concrete theatrical choreographic expressive means in stage-single wind compositions solo. Conclusions: The functions of theatrical choreographic elements in solo wind masterpieces are discovered based on the analysis of series of wind solo compositions, which have been designated by the synthesis of different arts. To be more specific, this is the dialogical function, revealed as the internal (”Basta” – solo for trombone by F. Rabe) and external (”Harlequin” – solo for clarinet by K. Stockhausen) processes of dialogization. We also have the meaning concentrating function, which is disclosing in the high-priority significance of theatrical elements for the comprehension of the artistically imaginative content of wind solo masterpieces (”Homo ludens ІХ (oboe: me and oboe), the nine non-accidental stops for ” – solo for oboe by V. Runchak). The authors of this scientific article also emphasize the text generating function, which is allocated in the potential ability of the process of interpretation by musician-performer of composer remarks into note text; these are touching the introduction in musical text of the elements of theatricalization (“Interview on the given topic” for clarinet solo by V. Martyniuk).

Reseña de la obra de Beresford, Andrew M. Sacred Skin: The Legend of St. Bartholomew in Spanish Art and Literature. Brill, 2020. [ISBN: 978-90-04-40780-0]

The history of art in the twentieth century reveals many and varied affinities with roman art, both formal and spiritual, especially for the painters of the Second School of Paris and the non-figuration. However, it would be more correct to speak of "sentimental affinities" because this story features artists and thinkers for whom the essential stake is to renew links with the public, to nourish modern man from within in a world to be rebuilt.

For various historically documented reasons, women have always been considered a paradigm of either virtue or perversion. In this article, we focus firstly on the image of women as reflected in medieval illuminated manuscripts, where portrayals raged from mainly mystics in convents, saints, mothers, damsels in distress, labourers in the fields and even women of ill character. Apart from that, we mention the role of women as writers and illustrators of Manuscripts. Secondly, we have a brief look at modern western art, based on the heritage of medieval art, that carries on even further the stereotyped image of women, systematically objectifying them. Thirdly and finally, we examine how this has influenced today's advertising depictions of women, outlined with distinctive characteristics. The visual discourse emphasizes certain physical and moral traits based again on clichés, stressing mostly decadent passive attitudes and poses or submissive roles. The present research is quantitative and qualitative, based on case studies and referred in articles on Medieval Illuminated Art and Today's Advertising and Mass Media.

Florence is known all over the world for its history, monuments, Museums, and artworks. Unfortunately, such precious manufacts are not always adequately protected against natural hazards. Works of art, indeed, are very vulnerable to seismic effects, due to their irregular and slender shapes, and their fragile materials. All these reasons make them vulnerable to seismic events even when they do not achieve a destructive intensity. The current Technical Codes point out such vulnerability, despite providing guidelines not completely adequate to prevent the seismic damage. In this frame, a research activity has started within the Department of Architecture of Florence aimed at investigating the dynamic response of artworks to seismic events, including both simplified form-filling and more detailed Finite Element analyses. In this work, the seismic performance of the marble statue “Oceanus” by Giambologna has been as- sessed by adopting three different analytical models.

Book review: Ioan Pricop, Geometric and Harmonic Structures in Nature and Art, Artes Publishing House, Iași, 252 pages.

Book review: George Banu, il. de Mirela Marin, Iisușii mei sau coexistența cu arta sacră/ My Jesuses or Coexistence with Sacred Art, Nemira, Bucharest, 2018, 160 pages

Abstract Vygotsky’s article about the psychology of the actor is a good example of continuities and connections between the early and late work of this psychologist and theater critic. Contrary to a divide between an “instrumental”, “mechanistic” and “reductionist” phase before 1930 and later a “holistic” phase (Yasnitsky, van der Veer, 2016, p. 92), the discourse about the actor and Diderot’s notion of “artificial feelings” (sensibilité artificielle) proves Vygotsky’s ongoing commitment regarding questions of experience (perezhivanie), catharsis and the status of emotions. The dichotomy of the actor’s emotions as shown by Diderot in Paradox of Acting is a key for Vygotsky to insist on the historicity of emotions and a transformation of psychology’s methods. As part of the creative work, the actor’s emotions are divided with opposing forces. In Vygotsky’s Psychology of Art, the formalist term for such a division is dvoistvennost’ (twofoldness). Only by overcoming naturalist assumptions and by placing emotions in the context of other mental functions, psychology with indirect methods would be capable of dealing with this historicity. This is a “psychology in terms of drama”, as suggested in “Concrete Psychology”. My paper will focus on the connections between early reviews, “The Psychology of Art” (1925), “Concrete Human Psychology” (1929) and “The Psychology of the Actor’s Creative Work” (1932).

In this paper, I intend to study the contribution of Aby Warburg, a cultural theorist and an art historian, especially his concern with the relations between memory and history, relations that have been theorized in the late 20th century, but which Warburg anticipated, to a certain degree. In his writings, there can be identified those relations that make memory a metahistorical category or an anti-historical discourse (Pierre Nora, Yosef Yerushalmi); then, his writings can be connected with those of Maurice Halbwachs, the first who approached memory as a social phenomenon. Thus, according to Warburg, collective memory can be regarded as a medium for art, which ensures the survival of images and pathos formulas even when the violence of historical development leads to a decline of the creative spirit. One might say that via a detour through the archaic (Pueblo Indian culture), Warburg managed to reduce the distances which the historical method had established to the Antiquity's vestiges (process that started in the Renaissance). His hypothesis was that the employment in the historical development of Western civilization leads to the atrophy of certain potentialities of the human spirit, which can be addressed in the anti-historicist discourse, specific to postmodernity. In the last part of the paper, I propose to dwell on The Mnemosyne Atlas, Warburg’s last project, as a visual synthesis of the research that he conducted throughout his life.

This article sets to examine some of the impacts the notion of “political correctness” has on the art world today. It argues that what started as the noble attempts to compensate for the grievous history of racism by way of inclusive speech and affirmative action has, in the end, generated new forms of discrimination and closure. In this context, instead of pushing the boundaries of what is considered acceptable in social, moral or aesthetic terms, art is itself being pushed back within these boundaries and rendered inert and ingratiating.

This article presents the way John Paul II, the head of the Vatican at the beginning of the third millennium, theologically and philosophically substantiates and establishes the principles of a new humanism through the dialogue between the Church and art as the most personalized sphere of human activity. The conceptual essence of the key idea of the humanizing function of art, in the personalistic philosophy of art of John Paul II is revealed from the methodological standpoint of religious studies. It determines the particular nature and tasks of the renewed dialogue between the Church and artists, aimed to overcome the processes of depersonalization and dehumanization of culture, caused by atheistic humanism and growing increasingly during the 20th century. The author ponders on The Letter of Pope John Paul II to Artists and Towards a Pastoral Approach to Culture, two papal documents. Their appearance on the eve of the 2000th anniversary of Christianity became symbolic. These documents draw attention because, firstly, although the idea of a dialogue between the Church and artists as a way of embodying spiritual values of a new humanism in the theological and philosophical discourse of John Paul II had been formed over several decades, it found its conceptual solution precisely in these two papal documents. Secondly, it is in these two documents that the essence of the cultural policy of the 264th Pope is consistently set forth, meant to overcome the consequences of atheistic humanism and create a new humanism, and thus to overcome the civilizational anthropological crisis and develop a new ideological paradigm of the third millennium.

Este artículo es una revisión del paradigma de violencia contenido en el art. 14 § 1 de las Reglas de procedimiento del motu proprio Mitis Iudex Dominus Iesus, a partir de los desarrollos que de aquella ofrecen el Subsidio Aplicativo del Tribunal Apostólico de la Rota Romana y las aportaciones de la doctrina canónica. La cuestión es si el tipo de violencia jurídicamente relevante que se propone, esto es, exclusivamente física, habitual y grave, en cuanto indicio de nulidad matrimonial, responde o no a las dinámicas de perpetración y victimización que se registran antes y después de la celebración del matrimonio.

Dopo oltre vent’anni dalla Raccomandazione R (2000) 2 del 19 gennaio 2000 del Comitato dei Ministri del Consiglio d’Europa, il d.lgs. 10 ottobre 2022, n. 150 ha introdotto nell’ordinamento italiano - ponendo fine ad una lunga attesa - un nuovo rimedio, al fine di dare esecuzione alle sentenze definitive della Corte europea dei diritti dell’uomo. Tramite una succinta analisi delle proposte legislative precedenti nonché dei presupposti e delle modalità della richiesta ex art. 628 bis c.p.p. e del suo problematico rapporto con l’istituto della rescissione, il contributo intende affrontare, in chiave critica, le prime problematiche sollevate dalla novella legislativa.

(Series Information) European Papers - A Journal on Law and Integration, 2022 7(3), 1431-1446 | Article | (Table of Contents) I. Introduction. - II. The development of European consumer protection policy. - III. The limits of art. 12 TFEU. - IV. Coordination between consumer and environmental policy: a new avenue to activate art. 12 TFEU? - IV.1. The 2020 Consumer agenda. - V. Conclusion. | (Abstract) The integration clause contained in art. 12 TFEU has been rarely invoked in European policymaking. This is due to the generic language adopted by the EU legislator, who does not impose an obligation on the EU bodies to integrate consumer protection in other Union policies or on Member States, thus reducing the justiciability of the provision. Compared to other TFEU provisions dedicated to consumer protection, the strength of art. 12 TFEU seems extremely low. However, art. 12 TFEU may come in handy in the development of a more sustainable economy in which the interests of consumers are not only focused on strengthening the internal market but also on safeguarding the environment and reducing industrial waste. This Article evaluates whether and how art. 12 TFEU may impact the choices of European bodies on the circular economy, the European Green Deal and the re-cent Consumer Agenda strengthening the role of consumers in the green transition.

“Greece doesn’t exist” was the provocative title of Michel Grodent’s essay (2000), suggesting the need to overcome all prejudices and stereotypes around the image of Greece. Is this perspective of de-construction possible today? This paper focuses on some specific cultural attempts, following this direction. After a brief overview of the different positions, from enthusiasm to disappointment (idealization, touristic image, the myth of Zorba, financial crisis), it explores two examples of counter-narratives: street art, as an alternative response to hegemonic discourse, and urban flâneries. In particular Christos Chryssòpoulos’ interesting works (Flashlight between Teeth, 2012 and The Flâneur Consciousness, 2015), where text and photography form a dialectic pair and show the present of Athens through its material objects. In both cases, wall-writing and literary photobooks suggest a new gaze – an “apocalyptic” one, according to the etymological root of the word – which reveals throbs, details, microcosms and new perspectives capable of destroying certainties and preconceptions.