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Copyright of Index: Revista de Arte Contemporaneo is the property of Pontificia Universidad Catolica del Ecuador and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prometeus: Filosofia em Revista is the property of Prometeus: Filosofia em Revista and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Mexicana de Ciencias Politicas y Sociales is the property of Revista Mexicana de Ciencias Politicas y Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper critically explores the pedagogy of Science World in creating disciplined, birthing patients within the sexuality education BodyWorks gallery on display in Vancouver, Canada. Using Multimodal Critical Discourse Analysis, I explore the ways in which power/knowledge circulates to regulate and de-agentalise bodies in a science museum encounter. I consider the regimes of truth that emerge regarding the good/right/correct way to give birth and to be a woman: that is, as White, heteronormative, slender, conforming, always a mother, but and mostly a uterus. In exposing regimes of truth within the encountered curriculum of the science museum, the hope is that sexuality educators might (re)consider space for the unruly and awe-ful within pedagogies of childbirth. [ABSTRACT FROM AUTHOR]

Highlights the Paper Expo 2005, an event organized by the Technical Association of the Pulp and Paper Industry for the paper industry held in Milwaukee, Wisconsin from May 23-25, 2005. Attendees; Programs and activities; Contact information.

Copyright of Theology Annual is the property of Holy Spirit Seminary College of Theology & Philosophy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ancient manuscripts are part of many collections belonging to historic libraries and museums: due to their fragile nature and to the difficulties to display most of their contents during exhibitions, their study is often complicated for scholars who also need generally special permissions to examine them, mostly for a limited time window. Beginning from these premises, this paper introduces the outcomes of the digital replication and presentation of three manuscripts related to Dante's Divine Comedy, as proposed on a real exhibition, "Dall'Alma Mater al Mondo. Dante at the University of Bologna", held in 2021. Some of the principles related to the production of their replicas and the fruition of their contents through dedicated applications targeted to visitors and scholars are presented, with care to the reproduction of details such as the ability to explore 3D replicas of detailed elected pages or to browse many of them on dedicated touch screens. [ABSTRACT FROM AUTHOR]

Copyright of Discusiones Filosóficas is the property of Universidad de Caldas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babeș-Bolyai, Historia Artium is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper is an exposition and synthesis of C. S. Lewis's ideas on story as elaborated in his essay "On Stories" in the Charles Williams festschrift (1947). The purpose of Lewis's essay was to flush out of the underbrush of literature what distinguishes true Story (with a capital letter "S") from story as mere entertainment. The paper concludes that a key to Lewis's essay on stories is to be found in his initial vocation as a poet and his ideas about poetic imagination. [ABSTRACT FROM AUTHOR]

Copyright of Studia Kantiana is the property of Sociedade Kant Brasileira and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nachrichten aus der Chemie is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Presents the schedule of several trade fairs in Germany from January to November 2004. Industry sector of Heimtextil Fair; Venue of the Paperworld Fair; Details of the Frankfurter Buchmesse Fair.

The article discusses the Archives's additional Abraham Rattner, Lincoln Rothschild and Henry Hitchings's papers provided by their widows. It mentions that Rattner's widow, Esther Gentle Rattner provided the papers wherein cross-country automobile trip with Henry Miller was the main focus which was described in the 1941 book of Miller entitled "The Air-Conditioned Nightmare." On the other hand, Elisabeth Rothschild donated the historically interesting documents of both men wherein different writer career aspects, editor, arts administrator, sculptor as well as the unpublished book "Painters of Democracy," and "The Pragmatist in Art" were the main concern of the materials. In addition, Henry Hitchings had produced several books on art instruction that were now offered at the Archives.

Copyright of Socioloski Pregled is the property of Srpsko Sociolosko Drustvo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Introduction: Despite the growing attention paid to the research of translation technology teaching (TTT), there is still a lack of studies on students' attitudes and the motivational factors in relation to it. To this end, the paper reports on a questionnairebased study that describes students' attitudes towards translation technology (in the Chinese MTI context) and explores its structural relations with translation mindsets and future work self. Methods: Data were collected from 108 grade 2021 MTI students of three selected Chinese universities and analyzed using descriptive statistics and structural equation modeling (SEM). Results: The results demonstrate that Chinese MTI students' overall attitudes towards translation technology are slightly positive. So far, they perceive translation technology to be slightly effective for translation and are slightly mindful of it. They are slightly influenced by teachers and still feel inhibited when learning and using it. Furthermore, the results also indicate that growth translation mindsets positively influence students' attitudes towards the effectiveness of translation technology, teacher influence, exhibition to translation technology, and mindfulness about translation technology, whereas fixed translation mindsets only negatively predict students' teacher influence. Likewise, future work self-salience positively associates with students' attitudes towards the effectiveness of translation technology and mindfulness about translation technology, while future work self-elaboration positively relates to students' exhibition to translation technology. Among them, growth translation mindsets are the strongest predictor for all attitudes components. Discussion: Theoretical and pedagogical implications are also discussed. [ABSTRACT FROM AUTHOR]

Public infrastructure is an interdependent system of actors, organisations, assets, services, the society it serves, and the context of each and their whole. This complexity presents research challenges for those focused at the system level, not the least that there is limited research in whole-of-system working for public infrastructure administration and the public sector more generally. Although the available literature appears unified in calling for a probing, pluralist approach, there are few examples of how to approach complex systems in practice. This paper derives from a research programme on the strategic intent and management of infrastructure systems. That programme used the New Zealand land transport system as its focus; nonetheless, it should have wider application given the shared issues being faced within infrastructure practice and matters of sustainability, resilience and system fitness more generally. By melding methods, the action research methodology is aimed at assisting researchers of complex systems and/or problems in gaining more fulsome insights and evidence to support theory. Accordingly, the methodology contributes to the understanding of how to approach infrastructure systems from a research perspective. It offers a road map, a means of sense-making and socialising the issues found at the whole-of-system level and a systemic diagnostic tool. [ABSTRACT FROM AUTHOR]

Purpose: The paper focuses on how the problem of process capability assessment can be handled when taught, using convenient numerical and graphical means. The contents of the paper results from the authors' own academic and practical experience, which suggested that many important steps are overlooked in the process of selecting and using capability indices. Methodology/Approach: Selected problems in capability assessment are illustrated with suitable examples and graphs. Findings: The authors' experience is reflected in the paper, aiming to emphasize what matters and how, and what does not. Also, a new capability index is introduced. Research Limitation/implication: The style in which the problems are analysed may serve as a guide for further studies in the field and capability index applications. Originality/Value of paper: The paper also contains, aside from specific examples, some more advanced techniques, and is therefore accompanied by software readouts, since computer support is required in such cases. [ABSTRACT FROM AUTHOR]

Copyright of Slavia Meridionalis is the property of Polish Academy of Sciences, Institute of Slavic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article reports that Phoenix, Arizona-based Honeywell Inc. featured its products for the pulp and paper industry at EXFOR 2006 in Montreal, Quebec. The first product is Precision FotoForm Formation Sensor. It incorporates the web monitoring technology by recording the moving paper web and quickly processing and analyzing recorded images from inside the machine in real time. The second product is Quality OptiMISER for Quality Control System. It helps Honeywell Quality Control System customers make faster and more accurate production decisions.

The article reports that the companies that had submitted applications to participate in the upcoming CorrExpo® exhibit were entered into a lottery to determine the order in which they can select their booth space for the exhibit in Cincinnati, Ohio. The lottery was held at the Technical Association of the Pulp and Paper Industry (TAPPI) headquarters. Exhibitor application from TAPPI Sustaining Member Companies were shuffled and inserted into a large basket. The numbers indicated the order in which the exhibitors will be contacted to choose their booth space for the exhibit.

Features the Converting & Package Printing Expo 2005, co-sponsored by the Technical Association of the Pulp & Paper Industry (TAPPI) in the U.S. Activities; Conferences sponsored by TAPPI; Registration information.

Reports on the extension in the "Forest For Our Future" exhibition of the Technical Association of the Pulp and Paper Industry in Atlanta, Georgia through June 30, 2005. Theme of the exhibition; Additional interactive activities in the show; Reasons for the continuation of the exhibit.

Reports on the plan of Appleton, Wisconsin-based The Paper Industry Hall of Fame Inc. to open a paper industry museum called "The Paper Discovery Center" by the end of 2004. Amount of capital campaigned for the museum; Conduction of exhibits.

This paper presents synthetic information on the exhibition of early printed books from the collection of the Early Printed Books Department of the University of Warsaw Library, organized for the participants of the Seminar on emblems on 23–24 May 2019, at the Artes Liberales Faculty. The goal of this paper is to discuss a selection of emblem books being part of the library collection, with special focus on their provenance. The books are divided into four main thematic groups: 1. Meditative emblems devoted to religion; 2. Emblem literature of formative function 3. Emblems for specific occasions; 4. Emblematic compendia. It is pointed out that a large number of the emblem books under discussion originate from libraries of religious orders. [ABSTRACT FROM AUTHOR]

Copyright of Muzika is the property of Musicological Society of Federation of Bosnia & Herzegovina, Academy of Music in Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Exhibitions are embodied knowledge, and the processes of making exhibitions are also in themselves knowledge production practices. Science and technology exhibitions are therefore doubly of interest to historians of science: both as epistemic agents and as research methods. Yet both exhibitions and exhibition-making practices are ephemeral, as is the subsequent experience of the visitor. How can we research, interrogate, and understand both the productive creation of exhibitions and the phenomenologies and epistemologies of their reception and impact? "Exhibition histories" has become a significant field of late, most closely associated with research on art exhibitions but also extending to world and trade fairs, and now increasingly crossing over into histories of science and technology. It is not an easy task: the range of exhibition archive materials includes – but is not limited to – 35mm slides, architectural blueprints, models, drawings, briefs, memos, budgets, press films, reviews, and personal accounts. This primary material is distributed unevenly across public and organized repositories, closed commercial archives, the personal papers of designers, often embargoed national bureaus of information, and more. Further, the experience of visiting an exhibition leaves far fewer traces to follow, requiring the researcher to do different kinds of things with the same widely varied material. This paper proposes methodologies for historians of science and technology wishing to understand the spatialization of science in exhibition contexts, the impacts of science exhibitions, and the more elusive phenomenological aspects of the exhibition visitor experience. Historians of science must accurately historicize context while researching both along and against the grain of archival material left by the making of exhibitions, as well as understanding the embodied trajectories of visitors. The practice of making exhibitions can also offer the researcher critically valuable insights into what to look for – and what may be absent – in archival records. [ABSTRACT FROM AUTHOR]

One area of increasing interest in contemporary art is the reconsideration and reinterpretation of archives to convey historical knowledge based on memory through exhibitions, organized by institutions. The aim of this paper is to contribute to a better understanding of how and why contemporary art institutions use archives in their exhibition practices. Six art institutions, which are members of L'Internationale, were sampled. Data from research demonstrated that contemporary art institutions organize archive-based art exhibitions to reinterpret the widely-known history; to reveal the lesser-known history; to fill in the gaps between artist, artwork, and institution; as a result of artists' archives and archive-based artworks and as an output of their research function. The paper argues that archive-based exhibitions provide a foundation for the new institutional activities and alternative interpretations out of the canonical history of art. [ABSTRACT FROM AUTHOR]

In this paper I provide an exposition and critique of the Organic View of Ethical Status, as outlined by Torrance (2008). A key presupposition of this view is that only moral patients can be moral agents. It is claimed that because artificial agents lack sentience, they cannot be proper subjects of moral concern (i.e. moral patients). This account of moral standing in principle excludes machines from participating in our moral universe. I will argue that the Organic View operationalises anthropocentric intuitions regarding sentience ascription, and by extension how we identify moral patients. The main difference between the argument I provide here and traditional arguments surrounding moral attributability is that I do not necessarily defend the view that internal states ground our ascriptions of moral patiency. This is in contrast to views such as those defended by Singer (1975, 2011) and Torrance (2008), where concepts such as sentience play starring roles. I will raise both conceptual and epistemic issues with regards to this sense of sentience. While this does not preclude the usage of sentience outright, it suggests that we should be more careful in our usage of internal mental states to ground our moral ascriptions. Following from this I suggest other avenues for further exploration into machine moral patiency which may not have the same shortcomings as the Organic View. [ABSTRACT FROM AUTHOR]

Copyright of Neue Zeitschrift für Systematische Theologie und Religionsphilosophie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to give an exposition of a proof of the distributional form of the Whittaker Plancherel Theorem. The proof is an application of Harish-Chandra's Plancherel Theorem for real reductive groups and its exposition can be used as an introduction to Harish-Chandra's Plancherel Theorem. The paper follows the basic method in the author's original approach in his second volume on real reductive groups. An error in the calculation of the Whittaker Transform of a Harish-Chandra wave packet is fixed using a result of Raphaël Beuzart-Plessis. [ABSTRACT FROM AUTHOR]

In this paper, we conduct a thorough investigation into holomorphic Riemannian maps from nearly Kaehler manifolds. We determine the necessary and sufficient conditions for these maps to be harmonic. In addition, we explore the scenario where the total manifold admits a Ricci soliton, analyze the properties of the holomorphic Riemannian maps in this context. We also establish several conditions under which the fibers of these maps admit Ricci solitons and trivial Ricci solitons. [ABSTRACT FROM AUTHOR]

This paper explores an Actor-Network theory approach to museum space. It builds upon qualitative research conducted at the Sainsbury Centre for Visual Arts, a museum and educational building located in Norwich, United Kingdom. By following the activities of the people who work at the museum and those involved in the process of dismantling an exhibition, I examine the negotiations that emerge when issues relating to the handling of a specific artwork arise. Drawing on Bruno Latour’s concept of ‘spacing’, this article emphasizes the multiplicity and complexity inherent in this form of museum practice. I focus on space as relationally produced by actors, including nonhumans such as the building design and material features, exhibition objects, handling instructions, and surfaces, alongside people. Through the analysis of this process of ‘spacing’, the work towards, and the negotiation of, stability and flux, of homogeneity and heterogeneity inherent to museum spaces, becomes visible. This approach allows for a rich and nuanced understanding of the multifaceted relationships between these various factors. [ABSTRACT FROM AUTHOR]

The section of "The Production of Woven Fabrics" focuses on various reports related to loom developments. An overview of developments in looms were presented in an exhibition of the International Textile Manufacturers Federation held in 1971. Before this exhibition, a paper was presented that gave general features of various shuttleless looms and compared their production rates and costs. According to a report, any development in weaving machinery should reduce conversion cost, improve cloth quality and image of the weaving industry. Many reports praise Sulzer weaving machines, which are considered as top class weaving machine by cloth manufacturers in respect of performance linked with versatility.

A calendar of History Colorado events scheduled from May through October, 2010 is presented which includes the art exhibition "Ray Tomasso: New Works in Paper," a display of Two Grey Hills Navajo weavings, and the Anything Goes 2010 museum exhibition.

This paper has been written on the occasion of the 20th anniversary of the Galicia Multicultural Festival. The author presents the Festival's organizer, Krystyna Shmeruk, as well as describing cultural events, lectures and symposia, exhibitions and concerts which have taken place as part of the particular editions of the Festival. The text is complete with press articles and memories of several persons connected with that project. [ABSTRACT FROM AUTHOR]

Copyright of Atrio: Revista de Historia del Arte is the property of Atrio. Revista de Historia del Arte - Universidad Pablo de Olavide and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The participation of Romania in the 1939-1940 New York World's Fair (organized under the unifying theme "The World of Tomorrow"), coordinated by Commissioner General Dimitrie Gusti, marked a stellar moment in the representation of Romanianness. Two iconic buildings, "The Romanian Pavilion" (the work of architect and prince G.M. Cantacuzino), and "The Romanian House" (projected by architect Octav Doicescu) were erected at the site of the event and hosted an impressive collec tion of Romanian fine and decorative art, meant to illustrate national identity and the evolution of Romanian art. The collection comprised of works of the most important artists of late 19th century and 20th century, such as: paintings by Th. Aman, N. Grigorescu, I. Andreescu, Th. Pallady, Gh. Petrașcu, N. Tonitza, Francisc Șirato, Arthur Verona, I. Theodorescu-Sion, Lucian Grigorescu, Marius Bunescu, N. Dărăscu, N. Vermont, Rodica Maniu, Samuel Mützner; sculptures by Cornel Medrea, Oscar Han, Mihai Onofrei, Mac Constantinescu, Milița Petrașcu, I. Jalea; monumental and decorative art by Olga Greceanu, Dem Demetrescu, Lena Constante, Nora Steriadi, Paul Miracovici, Petre Grant, Al. Mazilescu (together with religious artifacts and folk art). With the outbreak of WWII, the artworks showed at the World's Fair never returned to Romania. The collection was dispersed in several places in the USA. A large number of works (sculptures, mosaics, furniture, ceramics) ended up at "St. Mary" Romanian Orthodox Cathedral of Cleveland, OH. As for the paintings, they were considered lost forever. My paper will present, for the first time, the fate of two of the paintings: Întoarcerea de la târg (Return from the Country Fair) by Francisc irato and Spartul Horei (Last Spin at a Hora) / Joc (Folk Dance) by Arthur Verona. I discovered them at the Romanian Orthodox Parish "St. Dumitru", Manhattan. The church was dedicated to St. Dumitru as an homage to Dimitrie Gusti, and was consecrated on July 23, 1939 in a ceremony followed by luncheon at the "Romanian Pavilion". The two masterpieces are representative of the Romanian national propaganda at the Fair. [ABSTRACT FROM AUTHOR]

This paper takes as its starting point the current situation in regards to labour and protest within the context of the U.K. specifically in relation to Higher Education. After more than six years of working on precarious contracts (whilst also engaged with part-time PhD research) across numerous Universities, the author recently moved onto a permanent contract. My aim is to think through the possible ways that art and performance might offer alternatives to a life filled with work. I begin by looking at some specific examples of where artists have reflected on work and labour. In doing so, I am then able to move into an analysis of the exhibition After Work by Célline Condorelli (with Ben Rivers and Jay Bernard) held at South London Gallery between March and June 2022 to suggest possible futures of work and the way that it is presented in practice, a future that might push away from our current culture of over work and one that might shift to finding more space for leisure and play. These suggestions open up possible small solutions to much bigger problems. In addition, I will also draw upon In the Meantime, Midday Comes Around an international exhibition exploring the changes to work over the last decade. The exhibition was on show at Kunsthalle Wien between November 2022 and May 2023. [ABSTRACT FROM AUTHOR]

Copyright of Anuario de la Facultad de Derecho de la Universidad de Alcalá is the property of Dykinson SL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Exhibitions are one of the most important marketing tools, especially in terms of B2B communication. Before the COVID-19 pandemic there had already been a tendency towards organizing online or hybrid events. Following the pandemic, trade fairs have shown that they are able to transform themselves, and the exhibition industry has recovered, however, without reaching the performances recorded in the year 2019. Nevertheless, there have also been exceptions. Both exhibitors and visitors have expressed, in large numbers, a desire to meet physically; nonetheless, an increase in online or hybrid events is expected. The objective of this paper is to analyze the main developments of the exhibition industry before, during and after the end of the COVID-19 pandemic, at international level, including the case of the evolution of the Romanian company ROMEXPO, from Romania, which recorded a spectacular development in 2022. [ABSTRACT FROM AUTHOR]

Copyright of Hermeneus is the property of Revista Hermeneus and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper introduces Mantles in the Museum, an immersive game that helps ameliorate student discomfort in art museums and to support discourse in, through, and around art museums. Within the game the students take on the roles of critics who use one of five interpretive frameworks, often differing from the student’s own, to select works from a real museum to go to an international exhibition. Assuming these roles empowers students to be in the museum and to assess the works, students are given leave to engage in a vigorous critique process and to examine the art-world from a new perspective. [ABSTRACT FROM AUTHOR]

Copyright of Artnodes is the property of Universitat Oberta de Catalunya and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, I argue that scholars who reproduce photographs of Black people for subversive purposes should pursue alternative modes of re-exhibition other than carelessly reproducing said photographs as is. Christina Sharpe's care-based method of wake work, performed within In the Wake: On Blackness and Being (2016), is one such form of ethical exhibitorship. Care, in this text, is the pursuit of the full context of the afterlives of slavery against oppressive narratives about Black people and their lived experience to reach a clearer level of understanding and engagement with people experiencing anti-Blackness. In section one, I will analyze Mariana Ortega and Saidiya Hartman's engagements with photographic representation. In section two, I will explicate Sharpe's account of the wake and wake work, emphasizing the role of care. In section three, I will explore the limitations of wake work, mainly the tension between wake-filled reproductions and careful discretion. [ABSTRACT FROM AUTHOR]

This article aims to present and discuss issues related to Edvard Munch's work The Scream. Which are the first drawings we recognise and when were they made? Sick Mood at Sunset. Despair (1892) was the most specific and unique precursor for the motif. What do we know about the painting and the circumstances under which it was made? The four versions of The Scream executed on cardboard will be presented, as there is a certain confusion about how many there are. Several issues regarding the dating of Munchmuseet's painted version will be dealt with: What are the main arguments for the current dating of 1910(?)? Is it possible to set a date without a question mark? Are there other sources that should be investigated and can other paintings in Munchmuseet's collection contribute in any way? Reviews of the first exhibition where The Scream was shown will be discussed. Finally, it is important not to forget how Munch's legacy influenced artists after WWII, and a brief presentation of a selection of works related to The Scream by some of the most prominent artists will be given. [ABSTRACT FROM AUTHOR]

Copyright of Alpha: Revista de Artes, Letras y Filosofía is the property of Universidad de Los Lagos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Crítica is the property of Instituto de Investigaciones Filosoficas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the past ten years, research achievement exhibition services have risen and developed rapidly in domestic and foreign university libraries. Combining the practical cases from many university libraries around the world, this paper expounded the university libraries exhibition of research achievements from three aspects: the topic selection, the design and construction and the promotion and operation. The paper summarized the characteristics of diversification of exhibits, originality of display content, institutionalization of display form and refinement of exhibition management. Then the implementation values of university library research achievements exhibition service were demonstrated. It was believed that through this practice, university libraries were moving from behind the scenes of academic exchanges to front of the stage, becoming active communicators of campus academic content, and showing the development trends of segmentation of university library business, all-round refining of the librarian team and deepening of foreign partnership. [ABSTRACT FROM AUTHOR]