Осередки мистецтвознавчих досліджень у Львові: трансформації повоєнного десятиліття (1946-1950-ті рр.)

While the historiography of art as an academic discipline can hardly be construed as a science, it is nevertheless governed by certain dominant paradigms in both of the senses that Thomas Kuhn intended. First, at any point in time there is a constellation of beliefs, values, and techniques shared by the community of scholars who comprise the discipline known as art history. This can be further broken down, altered, and refined for the various sub-fields, but taken together, the separate facets constitute a “way of seeing” art history which differs substantially from the “way of seeing,” say, political history.Applying Kuhn's second and more rigorous sense, the historiography of art is dominated by certain paradigms which serve as exemplars or models of puzzle-solutions. While these change over time (it is no longer permissible to ascribe German expressionism to “national character,” for example), they are so powerful that they function as unquestioned assumptions when in force. Even more importantly, they are frequently invisible because they are rarely made explicit. In European art history, the dominant paradigms have coalesced into entities such as “The Baroque” or “Mannerism” which are largely ontological models used to simplify the otherwise intractable complexity of European art styles and movements.

The visual arts and architecture have been discussed in Europe since classical Antiquity. While several earlier Greek authors are known to have written on these subjects, the first surviving literature on art dates from the late 1st century bce and the 1st century ce. Some Romans, notably Pliny the Elder, mention the history of arts and crafts, and thus begin the tradition of writing on the history of art. In mentioning previous texts, Pliny also initiates what is here called the historiography of art—the discussion of art’s history. Consideration of the visual arts remained sporadic and scattered until the 15th century, and only a sparse historiography can be reconstructed for periods prior to the Renaissance. In the 15th century the first treatises on painting appeared. They contain some rudimentary historical comments. Writing on art took a fundamental step in the 16th century, when it assumed the form of the compilation of biographies, first by Giorgio Vasari. This paradigm was employed throughout Europe in the following centuries. By the 18th century a self-proclaimed history of art that treated stylistic change in relation to history had come into existence, distinguishing itself from antiquarianism, although Johann Joachim Winckelmann’s claim to have founded a completely new history of art is contested. In the 19th century art history was institutionalized and flourished as an academic discipline, especially in the German-speaking world. Notable scholars developed new ideas there and in Italy, France, and Britain as well. Important traditions of scholarship, such as the cultural and formal history of art, originated and grew in the late 19th and early 20th centuries. In the earlier 20th century self-consciousness grew about the history of the discipline; the first explicit studies on art historiography appeared. Scholars associated with the Warburg Library in Hamburg and the Warburg Institute in London and with the Vienna School of Art History have in particular garnered a large literature. More recently researchers have tackled the general question of the fate of German art history in the mid-20th century as it was affected by Nazism. But art history in central and northern Europe and in France and Italy has also captured some attention. As the historiography of art gained broad interest in the later 20th century, a “new historiography” also arose that presents a revisionist critique of art history, including previous historiography. British and American scholars have increasingly participated in discussions of historiography and have been especially involved in these newer tendencies. Trends that have raised further questions about the validity of previous methods and approaches have also begun to accumulate their own historiography.

There are many natural links between academic work and activism that can be used for social justice and equity, but remain underdeveloped in higher education. Using the concept of liminality and the inclusion of personal voice that is central in Scholarly Personal Narrative methodology, this article explores academic activism in multiple ways. First, a series of “purposeful conversations” with educators at the University of Malta suggest that the level of self-affiliation with activism is influenced by academic discipline and the presence of impactful successes related to activism. Challenges within academic activism include devaluing activism within academic structures, and balancing the roles and actions of academic, activism, and personal lives. Second, benefits of activism in student learning are described, including (a) using synoptic learning as a curricular organizing concept for intellectual development, equity, and social justice and (b) exploring activism as a robust organizing concept for student learning across disciplines. Third, systemic barriers (e.g., maintenance of privilege) and anti-activism as moral high ground (e.g., activism as dangerous, too radical, narrowly appropriate, and unnecessary) are identified using two examples of curricular approval processes at a Midwestern university. Fourth, strategies to disrupt barriers to academic activism suggested by these results are presented.

Using archival materials from the National Archive of the Republic of Belarus, the State Archive of Vitebsk region, the Polotsk Zonal State Archive, and the Daugavpils Zonal State Archive of the National Archive of Latvia, as well as published documents of Russian archives and works of historians, this article examines the process of preserving the memory of the fallen soldiers of the Red (Soviet) Army on the territory of the Belarusian- Latvian-Russian border in the post-war Soviet period. The main conclusion is the correctness (incorrectness) of decision making by Soviet authorities at the level of districts and cities in relation to immortalization of the memory of fallen soldiers of the Red (Soviet) Army and partisans. One example of the primary analysis of a common grave in the village of Shevelevo in the Palkinskiy district of the Pskov region. The comparative analysis of the policy of preserving the memory of those who died during the Great Patriotic War, by taking into account military burials and their further memorialization at the Belarusian-Latvian-Russian border in the post-war period, gives us the opportunity to ascertain the specifics of the Soviet republics in this direction. The actions of the Soviet leadership depended on the time of liberation of the territory from the Nazis, as well as the quality of work of the “funeral teams” that were to perform the function of burial of the bodies of the Red (Soviet) Army soldiers after the end of the battle.

This article delves into the multifaceted nature of pedagogy, examining its role as both a practical pursuit and an academic discipline concerned with education and upbringing. Positioned within the context of modernity, the overarching objective of pedagogy is framed as the cultivation of a free subject in communities of free people, emphasizing emancipation and participation. A key challenge is navigating the tension between purposes and facts, a core issue in human science pedagogy (Geisteswissenschaftliche Pädagogik). The authors propose a contextualized approach to knowledge, introducing the concept of ‘situated knowledge’, emphasizing its directional aspect (‘purpose’) and the need for an understanding of the present reality (‘facts’). They highlight the significance of this approach in practice, in collective practice-development and in research. Situated knowledge is not certain knowledge, but the process of creating situated knowledge serves as an invitation to self-activity, encouraging the exercise and development of pedagogical tact.

The contribution of the population movements examined in this volume to the economic developments of the post-war period have only been understood in outline. The vocabulary and visual imagery of the post-war years reflected the demand for workers, and we are familiar with portrayals of builders, engineers and carpenters attempting to build a new world on the ashes of the old. But the participation of the millions of refugees and people on the move in these reconstruction programmes after 1945 would still benefit from explanation and analysis. This chapter looks at one particular group of refugees — German expellees in the Eastern area of Germany after 1945, now under Soviet control — and examines the role of labour and employment policies in their initial reception and treatment.

To what extent and how are today's increasingly interconnected and porous real and virtual worlds conditioning and even determining research in Art History? Several art historians have pointed out that, as the globe becomes hyper-connected, the discipline is shifting its focus from local and national questions to global or worldwide issues. This paper aims to analyze this shift in the historiography of medieval Iberian art. I argue that research is indeed being reshaped by the removal or the crossing of physical, epistemic and virtual boundaries as well as by pushing forth an increasing interest in connectivity. Additionally, I propose to cross or remove surviving rigid boundaries still further, to construct more flexible and fluid epistemic limits, and to establish additional connections at several levels.

A partir de la mitad del siglo XX se consolidó el sistema capitalista moderno/colonial, por medio de la lógica eurocéntrica que agravó la brecha Norte-Sur. Así se forjaron las relaciones económicas internacionales que impusieron la engeneración y la racialización del trabajo. En este sentido, la garantía de los derechos socioeconómicos de la clase trabajadora de una parte del planeta (Norte), fue el producto de un proceso imbricado por los factores de modernidad, (neo)colonialismo y desarrollo. De este modo, se presenta la urgencia de deconstruir el sistema económico actual ecologicida y genocida, que ha sido el creador de este nuevo orden mundial que ha rentabilizado la sobreexplotación y la muerte de miles de mujeres. Así, esta investigación bebe de la aplicación de un enfoque teórico-metodológico interseccional, es decir, es necesario entender la subordinación de las mujeres a partir del conjunto de variables co-constitutivas (género, raza, sexualidad, espiritualidad, etcétera) y desde los conocimientos situados de Donna Haraway. Respecto a la estructura, en la primera parte del artículo se presentará una crítica al discurso mainstream de las Relaciones Internacionales desde la perspectiva descolonial. Posteriormente, se estudiará la relegación del trabajo reproductivo a las mujeres vinculada al proceso colonial, además, se pretenderá demostrar los efectos del sistema económico internacional en las vidas de las subalternizadas, sobre las mujeres trabajadoras, las racializadas, las colonizadas, las refugiadas, las trans o las migrantes. En último término, se presenta un diálogo entre los feminismos descoloniales y la economía feminista para repensar y justificar el bienestar como camino hacia la protección de la vida planetaria. En definitiva, el contexto global es un sistema que le ha cedido la batuta a un modelo que imposibilita garantizar el cuidado de las vidas como consecuencia de su naturaleza eurocéntrica, racista, colonial, heteropatriarcal, ecologicida y un largo etcétera. Por esta razón, este artículo abre una puerta al diálogo entre los feminismos descoloniales y la economía feminista para tratar de encontrar consensos que permitan crear una agenda feminista, subversiva y común. Para este camino de reflexión y cuestionamiento la presencia de las Relaciones Internacionales se vuelve indispensable. Esta disciplina debe acompañar, desde el inicio, la fase de transición que consiga desplazar el capital para situar en el epicentro del sistema los cuidados y la sostenibilidad de la vida.

Occasional textiles, or tissus evenementiels, are iconic elements of large-scale social events in many parts of Africa (Rabine 2002). Since the mid-twentieth century, widespread production and circulation of printed cotton cloth designed and worn for special occasions such as political rallies, the arrival of visiting dignitaries, the celebration of holidays and anniversaries, and the commemoration of individuals and institutions have made occasional textiles a transnational social phenomenon and ubiquitous form of material culture. Similar types of political textiles have historically been used in Europe and the United States as tea towels, kerchiefs, upholstery fabric, banners, and wall hangings (for examples see Atkins 2005; Collins 1979; Fischer 1988; Reath 1925; Thieme 1984). However, African consumers in many different regions have generally preferred the fabrics as wrappers or tailored clothing, often to be worn as matching outfits by large numbers of people during particular events. A material discourse and popular form of consumer culture throughout many parts of the continent, African occasional textiles emerge from and contribute to processes of nationalization, globalization, capitalism, and development. Alternatively known as commemorative cloths or “portraitcloths,” this foundational element of contemporary African sartorial art, I argue, provides an ongoing visual commentary regarding the direction of society but also shapes emergent discourses and practices as a form of political technology intended to circulate and reinforce ideas of progress. The iconography of occasional textiles thus provides a rich source of information on individual and community perceptions, memories, myths, and aspirations. Instead of reading the textiles as forms of party propaganda, and moving beyond a national frame of reference, I highlight iconography constituting landscapes, people, and technologies symbolizing achievements and aspirations associated with modernity, progress, and development. The diversity of symbols represent more than political propaganda, although much scholarship has emphasized this rather notorious dimension of the communicative value of the materials (e.g., Akinwunmi 1997; Ayina 1987; Beauchamp 1957; Bickford 1994; Clarke 2002; Clark 2005; Faber 2010; Nielson 1979; Picton 2001; Spencer 1982). Understood as historical text, the iconography displayed on African occasional textiles reveals attitudes surrounding development, modernity, the environment, and aspirations for the future. Like written texts, the symbolic content of occasional textiles presupposes situated cultural knowledge critical to interpreting the ideas communicated. Textile iconography serves not only to commemorate the past but contributes to shaping the future; as noted by curator Anne Spencer, occasional textiles have “been used effectively to popularize new ideas ... to promote party policies ranging from education to rural development” (1982:6–7). However, the role of this iconography in processes of development, while recognized, has received comparatively little intellectual scrutiny (e.g., Ayina 1987; Spencer 1982; Textile Museum of Canada 2009). John Picton explains that the factory origin of cotton prints accounts for “relatively late entry into the subject matter of Africanist art-historical research” (1995:24–25). Previous studies of the iconographic repertoire of occasional textiles tend to highlight a seemingly infinite array of themes, events, and people that appears to defy generalization (e.g., Faber 2010:9; Picton 2001:112; Rabine 2002:151–52). More troubling is the notion that these African textiles are too “wacky” for European taste (Picton 2001:159). In this article I assert that while the artwork and symbols displayed on occasional textiles may be facilely categorized

T03-O-16 The deconstruction of traditional paradigm of sexuality, gender identity and sexual differences: which implications for clinic?

The purpose of this study is to explore impacts of the pandemic on the academic activities and life of full‐time international faculty at Japanese universities, drawing on findings from semi‐structured interviews with them. Main findings include three points. First, although the vast majority of the interviewees believed that the pandemic has had more negative impacts on their academic activities and life, the case study of Japan suggests that there are both negative and positive impacts from the pandemic that are unique on international faculty's academic activities and life. Second, the study reveals that the impacts on international faculty vary according to the backgrounds of the interviewees such as their academic disciplines, countries of origin, and work roles and duties. Finally, participants may have experienced discrimination etc., but not felt comfortable talking about it. It seems that no interviewees, particularly those from China and other parts of Asia, experienced social exclusion and xenophobic attitudes and, at times, became victims of discrimination and verbal assaults.

This article summarises the extensive research conducted in recent years on the paintings by Liu Kang (1911–2004), a renowned modern Singaporean artist. The investigation considered 97 paintings made between 1927 and 1999 from the National Gallery Singapore and Liu family collections. While detailed results of the analytical studies were presented in a series of publications, the scope of this article comprises an overview of the artist’s preferential painting supports and pigments and an outline of the evolution of his working methods. The collected information considerably increases the knowledge about Liu Kang’s painting practice and may assist conservators in the diagnosing, treatment, dating and authentication of artworks of uncertain origin. The results demonstrate the importance of comprehensive multi-analytical studies, which combined with documentary sources and art history research, provide a full understanding of the artist’s painting practice.

Liu Kang (1911-2004) was a Chinese artist who settled in Singapore in 1945 and eventually became a leading modern artist in Singapore. He received academic training in Shanghai (1926-1928) and Paris (1929-1932). Liu Kang's frequent visits to China from the 1970s to the 1990s contributed to a special artistic subject-the Huangshan and Guilin mountains. This subject matter triggered an uncommon painting approach for his oeuvre. In this context, this study elucidates the artist's choice of materials and methods for the execution of 11 paintings, dating between 1977 and 1996, depicting Huangshan and Guilin landscapes. The paintings belong to the collection of the National Gallery Singapore. They were investigated with a combination of non- and micro-invasive techniques, supplemented by a wealth of documentary sources and art history research. The obtained results highlight the predominant use of hardboards resembling Masonite® Presdwood® without the application of an intermediate ground layer. Commercially prepared cotton and linen painting supports were used less frequently, and their structure and ground composition were variable. This study revealed the use of a conventional colour base for the execution of the paintings-a consistent colour scheme favouring ultramarine, yellow and red iron-containing earths, viridian and titanium white. Less commonly used pigments include Prussian blue, cobalt blue, phthalocyanine blue, phthalocyanine green, naphthol red AS-D, umber, Cr-containing yellow(s), cadmium yellow or its variant(s), Hansa yellow G, lithopone and/or barium white and zinc white and bone black. The documentary sources indirectly pointed to the use of Royal Talens, Rowney and Winsor & Newton, brands of oil paints. Moreover, technical and archival findings indicated the artist's tendency to recycle rejected compositions, thereby strongly suggesting that the paintings were executed in the studio. Although this study focuses on the Singapore artist and his series of paintings relating to China, it contributes to existing international studies of modern artists' materials.

Based on the analysis of previous research and archival sources, the position of key Ukrainian museum institutions in Lviv on the eve of the occupation of Western Ukraine by the Soviet Union in September 1939, is analyzed. In the region, there were many museum institutions, which preserved and popularized the historical and cultural heritage of the peoples who have inhabited the territory of Halychyna. It was investigated that among the Ukrainian museums the most powerful were the National Museum in Lviv which had been founded in 1905 by the initiative of Metropolitan Andrei Sheptytsky and the Museum of the Shevchenko Scientific Society in Lviv (NTSh Museum). For more than three decades, both institutions have replenished their repositories with respectable ethnographic collections and artifacts. A drastic change in the situation after September 17, 1939, is demonstrated. Soviet occupation authorities conducted a detailed audit of all museums in Lviv and carried out their large-scale reorganization, in particular, of the entire ethnographic collections of the NTSh Museum in Lviv, the Dzieduszycki Museum, the City Ethnographic and Arts and Crafts Museums, and the Lubomyrski Museum. The Lviv State Ethnographic Museum was established based on their ethnographic collections. From now on, all museum institutions in Halychyna had to serve the ideological needs of the totalitarian machine of Soviet propaganda. Due to the analysis of archival material from the State Archives of Lviv Region (DALO), the main directions of the Ethnographic Museum's activity and its gradual ideologizing, which manifested itself in the priority of Bolshevik propaganda, are analyzed. For instance, exhibitions, lectures, and exposition ensembles forming, organized by the Museum during the end of 1939 and the first half of 1941 strictly corresponded to the so-called «Marxist-Leninist» ideology and a «class» approach. All his public activities were controlled by the relevant party-ideological institutions and party officials. After the Nazi occupation of 1941–1944, the Lviv State Ethnographic Museum returned to the Soviet Bolshevik propaganda reality. Thus, it was stated that the events of the autumn of 1939, related to the occupation of Western Ukraine by the Soviet Union and the implementation of Bolshevism, radically changed the museum landscape of Lviv. Most of the museum collections were disbanded by the new Soviet government and new museums were created on their basis – the main task of which from now on was to promote the so-called «Marxist-Leninist» approach. Keywords museum, occupation, propaganda, Lviv State Ethnographic Museum

Imaging Pittsburgh: Creating a shared gateway to digital image collections of the Pittsburgh region by Edward A. Galloway The University of Pittsburgh’s Digital Research Library received a two-year grant from the Institute of Museum and Library Services (IMLS) to provide online access to multiple photographic collections held by the University’s Archives Service Center, Carnegie Museum of Art, and the Historical Society of Western Pennsylvania. When the project ends in October 2004, the project team will have mounted over 7,000 visual images depicting the people, places and events of the greater Pittsburgh region during the mid–nineteenth and mid–twentieth centuries. Although the beta version of the Web site was released in February 2004, the project team will continue to develop the site and offer creative avenues for exploring the collections. This paper summarizes remarks made at Web–Wise 2004 Conference in Chicago.