Kind Of Art Research Articles

Sociocultural activity of the UGCC at the current stage in Ukraine: religious and philosophical view

The article presents the religious-philosophical perspective of the socio-cultural activity of the UGCC. The religious factor plays a visible role in the state-forming processes of Ukraine during the modern period. The social sphere and culture of Ukraine is an environment in which traditional religious organizations often realize their abilities, and at the same time demonstrate their own civic position. Thematic forums and projects claim that the church can be a worthy state's partner by organizing the socio-cultural life of the society. The purpose of the study: religious-philosophical analysis of the role of the UGCC in the socio-cultural sphere at the present stage. The methodological basis of the research is a systematic approach to the study of socio-cultural activities of the UGCC at the present stage, an interpretive research paradigm, a descriptive method, an interdisciplinary analysis, and a methodological approach to everyday analytics. The information base of this study were scientific publications of religious studies scholars, theologians, historians, cultural scientists, as well as the dissertation abstracts, documents and materials of theological period, which were presented on the official websites of the UGCC. The article covers the religious and philosophical view of the sociocultural activity of the Ukrainian Greek Catholic Church (UGCC). It is determined that the models of social and culture-generating activity of the UGCC are established as early as in the period of Andrey Sheptytsky's archpastorate; a powerful experience of socio-cultural church work was also formed at the times of the underground, at the beginning of Ukraine's acquisition of its inependence, during the periods of patriarchal leadership of cardinals Myroslav Lyubachivsky and Lyubomyr Huzar. In the current publication, the modern phase of socio-cultural activity of the UGCC we tie to the beginning of Svyatoslav Shevchuk's patriarchship. It is researched that at this stage, the UGCC in large part employs the possibilities of modern digital technologies for the spread of Christian doctrine, presentation and popularisation of its activity. The participation of Greek Catholic clergy and laypeople in social and cultural spheres takes place simultaneously, they complement one another. The UGCC pays much attention to offering social aid to vulnerable categories of the population (orphans, lonely people of advanced age, etc.), strengthening the family institution, family values; develops chaplaincy; realises potential capabilities of clergy and laypeople in such areas of culture as education, literature, various kinds of art, theatre, media. A powerful contribution by the UGCC both at the beginning of the 20th century and in the modern era has been in the development of Ukrainian-language environment in the field of liturgical and ceremonial practice, and also in vectors of activity expanded upon in the current research. The prospects for studying this problem will be studying of the experiences of the UGCC regarding spiritual and social support of Ukrainian society during the war, the development of social and cultural initiatives in the post-war period using the experience of many cells (archdiocese, dioceses, monastic congregations, parishes).

Origen i simvolizam u Liturgiji - učenje znamenitog Aleksandrijca o crkvenoj umetnosti

The present paper aims to examine the relation between Liturgy as a service which is imbued with symbolism (and all kinds of art) and one typically spiritual view of communion with God. How could we reconcile Christian spirituality and liturgical symbolism? What is the view of Origen about liturgical symbolism? There are some opinions in academic research connecting Origen with iconoclastic beliefs in the Church. According to these opinions, Origen's concept of absolutely incorporeal God and the irreconcilable relation between spiritual and physical substances had influence on the repudiation of icons in Church in later times. In general, Origen's concept of God, human being and salvation formed one specific context for the theological understanding of human salvation and communion with God. With regard to this presumption, we will try to analyze it through the following steps. At first, we try to define the concept of body and material reality in Origen's ontology, as well as to contrast it to soul and spirit, which are largely emphasized in all his exegetical and other reflections. The second step is to try to reconstruct insights of Origen about symbols and icons in Liturgy. There is no complete exposition on this topic in his writings, but implicitly there is a possibility to investigate his teaching about icon and symbols. Here we take into consideration the idea of Christ as the icon of the invisible Father. Further, Origen mentions the concept of icon when he speaks about the difference between corporeal and spiritual man.

Assessing the Influences of Aesthetics and Its Expression in Shaanxi

Since its birth in the 1980s, contemporary visual art has grown rapidly and spread around the world. At the same time, it has also been controversial for its experimental art forms and avant-garde artistic attitudes. As an important part of many kinds of art, visual art has also followed the history and participated in the process of contemporary visual art. As a famous cultural and historical province, Shaanxi's profound historical and cultural accumulation has provided sufficient conditions and environment for the growth of contemporary visual art in Shaanxi. In today's world, a cultural transformation on the scale of ours has never been encountered before. Moreover, there is no place with thousands of years of history, culture and ruins like Shaanxi Province. For historical reasons, contemporary visual art in Shaanxi is relatively depressed, and is worthy of study as an intuitive form of cultural transition.

Communicating Social Perceptions of Art as a Profession in Pakistan

In our socio-cultural setting art is an essential medium for expressing human emotions. Art plays a pivotal role in creating and fostering a healthy nation. This research studies the relationship between socio-cultural ethics and art as a profession in Pakistan.Despite Pakistan's rich cultural heritage, the role of an artist is relatively new and often misunderstood. According to our findings, art in Pakistan has a rich cultural and social background, and people are attached to it. Based on their mindsets, knowledge, and physical environment, different people favor different kinds of art in their surroundings. Art is regarded as an appreciation by most people but is not regarded as a serious choice of profession for men. In contrast, art is a highly regarded profession among women in Pakistan. This study expands the scope of evaluation and development of art as a profession in Pakistan based on gender and cultural norms.

Musical Information Visualization System

The visualisation systems are spread widely as personal computer’s software. The system, that are processing audio data are presented in this article. The system visualizes the ratio of spectrum amplitudes and has fixed frequency binding to colours. The technology of audio signals processing by the device and components of the device were considered. For the increasing information processing speed was used 32bit controller and graphic equalizer with seven passbands. Music visualization it is function, that are spread widely in mediaplayer’s software, on a different operation systems. This function shows animated images that are depends on music signal. Images are usually reproduced in the real time mode and synchronized with a played audio-track. Music and visualization are merges in the different kind of art: opera, ballett, music drama or movies. Dependencies of auditory and visual sensations are used for increasing the emotional perseption for ordinary listeners . In the systems, that are currently being actively promoted, are used several tools for personal computers, such as: After Effects – The Audio Spectrum Effect, VSDC Video Editor Free – Audio Spectrum Visualizer, Magic Music Visuals. The software, that are mentioned above, has a one disadvantage: the using of streaming video is not possible with the simultaneous receipt of audio and requires processing and rendering of the resulting video series. The purpose of the work is to determine the features of spectral analysis of music information and taking into account real-time data processing. Propose a variant of the music information visualization system, which displays the spectral composition of music and the amplitude of individual harmonics, and filling the LED-matrix with the appropriate color depending on the amplitude of the audio signal, with the possibility of wireless signal transmission from the music source to the visual effects device. The technology of frequency analysis of the spectrum with estimation of amplitude of spectrum’s components of the musical data, that is arriving on the device is chosen for this project. The method is based on the analysis of the spectrum in the selected frequency bands, which in turn simplifies the function of finding maxima at different frequencies. The proposed variant of the musical information visualization system provides display on the LED-matrix of colors that correspond to the frequencies spectrum’s components in the musical composition. Moreover, the number of involved LEDs is proportional to the ratio of the amplitudes of the signal’s frequency components. The desired result is achieved by using a Fast Fourier Transform and selecting Khan or Heming windows for providing a better analysis results of the signal spectrum. The amplitudes of the individual components of the spectrum are estimated additionally and each frequency band has its own color. The work of the system is to analyze the components of the spectrum and frequency of musical information. This information affects the display of colors on the LED matrix. The using of a 32-bit microcontroller provides sufficient speed of audio signal processing with minimal delays. For the increasing the accuracy and speed up the frequency analysis, the sound range is divided into seven bands. For this purpose was used seven-band graphic equalizer MSGEQ7. Music information is transmitted to the system via Bluetooth, which greatly simplifies the selection and connection of the music data source.

POETICS OF V. F. ODOEVSKY'S NOVEL "RUSSIAN NIGHTS": THE INTERMEDIAL ASPECT

The article presents an intermedial analysis of V. F. Odoevsky’s novel Russian Nights. The analysis aims to identify the methods of including visual and audial media in the verbal printed text medium. A deliberately created experimental work served as material for the research. V. F. Odoevsky’s philosophical universalism extended to his aesthetic views, as evidenced by his articles and treatises. He believed in the emergence of a new art, which would be a synthesis of all arts, and tried to bring it to life on his own. In terms used by Western intermediality theorists, the novel Russian Nights did not combine different kinds of art, but adapted visual and audial channels of information transmission to create vivid mental images and a sense of acoustic presence. Odoyevsky rendered visual images through ekphrasis, i.e. verbal representation of visual representation, and through the use of literary pictorialism, in which the very reality of the artistic world presented itself to the reader in the form of a painting. The transmission of audial information occurs on three levels. Firstly, it is the level of verbal description — when the author wanted to present the readers with reflections about music, rather than music itself. Secondly, it is the level of references to real musical works — the partial reproduction mechanism switched on, and the reader could get an insight into the acoustic component from the name of a composition alone. Thirdly, it is the level of direct integration of an alien semiotic system — musical notation, when the author needed to represent a small fragment of a musical work as accurately as possible. Thus, Odoevsky tried to realize the romantic idea of an integrated art and create an intermedial novel.

КОМПОЗИЦІЙНО-МОВЛЕННЄВІ ФРЕЙМИ АНГЛІЙСЬКИХ РЕКЛАМНО-ІНФОРМАЦІЙНИХ ТЕКСТІВ ТА ЇХ РЕАЛІЗАЦІЯ В УКРАЇНСЬКОМУ ПЕРЕКЛАДІ

The article is devoted to the study of the peculiarities of the reproduction of frames of English advertising and informational texts in the Ukrainian language. The relevance of the work is due to the urgent need to consider the specifics of the translation of English-language advertising texts, and the importance of reproduction in the translation of compositional and informational advertising frames. The aim of the study is a theoretical and practical study of the specifics of the implementation of compositional-speech frames of English advertising and informational texts in Ukrainian. Scientific novelty lies in the identification of the specifics of the translation of a number of frames in the advertising discourse, focused on certain age and gender categories of consumers. Advertising discourse is a communicative structure, the frame strategies of which functioning in the communicative space of advertising are determined by the complex interaction of frames of various slots. As a result of the research, the author comes to the conclusion that the purpose of the translator is to use all knowledge of the theoretical foundations of translation to convey the communicative function of the original and to comply with such criteria of the advertising text as compactness, laconism, accuracy, and concreteness. Translated ad copy is a means that allows overseas companies to gain visibility and build a reputation with buyers in other countries. The success of an advertising campaign directly depends on the quality of its translation, which is considered a kind of art and requires from the translator not only good knowledge of linguistic and stylistic skills, but also such qualities as creativity, accuracy, awareness of the cultural traditions of the target language. During the analysis, we determined that a prerequisite for translation is the selection of appropriate means to convey not only the very meaning of the advertising message, but its expressive, gender, age and functional characteristics.

Review: Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound, by Daphne A. Brooks

Review: <i>Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound</i>, by Daphne A. Brooks

Rethinking the Art of Tattoo: A Perspective of Indonesian Women Tattoo Community

The research analyzed why women decided to get tattoos on their bodies and how Indonesian women interpreted tattoos. The tattoo was a kind of art and a symbol since centuries ago. In Indonesia, having a tattoo was no longer considered taboo as it used to be seen as something that deviated from the norm in Indonesia, especially if it was possessed by women. The tattoo was also identical with crime and thuggery, in which people who had tattoos would be respected or feared by people. However, in recent years, there has been a phenomenon in the raising of female tattoo communities where tattooed women gathered and supported each other. The research used the tattoo concept by Thompson and Feminist theory by Kristeva to analyze it. The research applied a qualitative method in which the dataset were taken from interview with three women of the Perempuan Tattoo Indonesia (PTI) community. The result of the interview is various. It shows that tattoo in Indonesian women’s perspective is not seen as only a trend, fashion, or art. However, it shows self-expression and freedom to fight women’s rights and gender quality.

Art and Class Struggle

Abstract What do we need to know about “art” or “class struggle” before considering their relation to one another? Could you describe a specific work or text that might serve as an illustration of class struggle or as an exploration of the problem of representing it? Let us say that visual art, broadly speaking, does express the worldview of the dominant class. What kind of art then expresses the worldview of, say, hedge fund managers? Does the dialectic of the visible and invisible still hold for conceptual and post-conceptual art? What alternative critical apparatus would you propose, since neither Lenin nor John William Cooke seemed to care much for art. Why should we?

Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence

Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.

To the problem of "polyphony of consciousness" in the context of the aesthetics of constructivism

The purpose of the article is to trace the peculiarities of the phenomenon of "polyphony of consciousness" as one of the main patterns of artistic thinking of the early twentieth century, which became widespread in various arts and reflected artistic and aesthetic trends of such a bright movement of the first avant-garde as constructivism. On the examples of music, literature, theater, cinema, fine art to reveal this phenomenon as an important manifestation of the aesthetics of constructivism. In selected works of art, to identify and consider characteristics of the musical text polyphonic techniques, which in turn have been widely used and reflected the individual stylistic features of representatives of different spheres of creativity of the period. The methodological basis of this study is a comprehensive approach, which contains historical and cultural, stylistic, and holistic methods of analysis. The theoretical method acquires special significance among them, as it is aimed at identifying the principles of writing in various fields of art. The scientific novelty of this work is based on the originality of the generalized study of the phenomenon of "polyphony of consciousness". This phenomenon is being considered as an important manifestation of the aesthetics of constructivism, based on the examples of music, literature, theater, cinema, and fine arts. Such an understanding of the implementation of the polyphonic principles of writing in the context of such an artistic movement as constructivism is undertaken for the first time in Ukrainian musicology. Conclusions. Experiments and searches of the artists of the early twentieth century in the fields of expression, content, composition, and language that "provoked" the development of stylistic pluralism in all spheres of art, strengthened the role of polyphonic principles of writing, and, more broadly, artistic thinking. Polyphonic techniques find their place in the trends of the aesthetics of constructivism, going beyond the musical texture and penetrating into all kinds of art. Polyphony and its principle of combining self-developing lines, voices, and layers, was perhaps the most important means of artistic reflection of the contradictions of the world, as well as the direction of the search in the field of content and means of expression.

Kritiese ekologiese kuns en Hegel se raaiselagtige uitspraak dat kuns moet sterf

Georg Wilhelm Friedrich Hegel (1770-1831), een van die belangrikste figure in die ontwikkeling van Duitse idealisme, se filosofie staan as "absolute idealisme" bekend, aangesien hy die idee, of gees (verstand) as die eintlike werklikheid beskou - in teenstelling met 'n materialistiese denker soos Karl Marx, wat materie (stof) as primêre werklikheid aanwys. Hegel was die eerste Westerse denker wat die geskiedenis ernstig opgeneem het; volgens hom is alles, spesifiek menslike kulturele aktiwiteite, onderworpe aan historiese ontwikkeling, en beskryf hy hierdie ontwikkeling op verskeie vlakke, insluitende dié wat hy "absolute gees" noem. Op hierdie vlak word wêreldgeskiedenis aan die hand van 'n "dialektiese" ontwikkeling vanaf "subjektiewe" gees (individuele menslike passies en bedoelinge) via "objektiewe" gees (staatstrukture en wette) tot "absolute gees" voorgestel. In hierdie artikel word daar aandag gegee aan wat volgens Hegel op laasgenoemde vlak gebeur, spesifiek met betrekking tot sy raaiselagtige stelling, dat die kuns as "hoogste uitdrukking" van die gees "moet sterf", om plek te maak vir religie en filosofie as manifestasies daarvan op meer gevorderde vlakke. 'n Mens kan tereg wonder wat Hegel daarmee bedoel het in die lig van die voortdurende beoefening van kuns tot vandag toe. Die antwoord is geleë in die frase, "hoogste uitdrukking", wat daarop dui dat hy aan kuns in historiese ontwikkelingsterme dink - met ander woorde, kuns is die draer van die absolute gees tot op 'n bepaalde tydstip, waarna dit plek moet maak vir ander sodanige uitdrukkingsvorme, te wete godsdiens en filosofie. Bowendien is kuns self ook onderworpe aan interne ontwikkeling; vir Hegel is die vroegste kuns simbolies van aard, (met Egiptiese kuns as voorbeeld), gevolg deur klassieke kuns (onder die antieke Grieke) en laastens romantiese kuns (in sy eie tyd). Die verskille tussen hierdie drie kunsvorms word bepaal deur die verhouding tussen idee en materie; in simboliese kuns domineer materie oor die idee in kunswerke, sodat die betekenis daarvan slegs vaagweg gepeil kan word (dink maar aan die Sfinks, as die "simbool van die simboliese"), terwyl daar 'n volmaakte balans tussen idee en materie bestaan in klassieke Griekse kuns, sodat geeneen van die twee dominant is nie (soos in die geval van beeldhouwerke wat die god Apollo voorstel). In romantiese kuns (byvoorbeeld die romantiese skilderkuns van Gericault) vind 'n mens die teenoorgestelde van simboliese kuns, met die idee wat dermate oor die materie heers dat dit byna daarin slaag om in denkbeeldige vorm daarvan los te breek. Hierdie is volgens Hegel die "hoogste" ontwikkelingspunt wat kuns as draer van die gees kan bereik, voordat dit plek maak vir religie as "beelddenke" en uiteindelik filosofie, waar die gees as idee suiwer, sonder enige stoflike oorblyfsel, tot uitdrukking kom. Hier voltooi die absolute gees die ontwikkelingstrajek daarvan, wat by die objektiewe vergestalting daarvan begin en via subjektiewe beliggaming uiteindelik in absolute "selfkennis" kulmineer. Vir die doeleindes van hierdie artikel is dit egter tematies betekenisvol dat Hegel ook melding maak van die voortbestaan van kuns ná die punt waar dit afstand doen van die titel van "hoogste" manifestasie van die gees of idee, naamlik in die gewaad van "kritiese", polemiese kuns, wat vry geword het van spesifieke wêreldbeskouings. 'n Mens kan in die moderne kunsbewegings van die vroeë 20ste eeu - insluitende kubisme, abstrakte ekspressionisme, konseptualisme en futurisme - die beliggaming van hierdie verwagting by Hegel bespeur, waar hierdie soort kuns telkens die ontologiese aanspraak maak dat dit die ware werklikheid blootlê. As besonder treffende tydgenootlike uitdrukking van sodanige (radikale) kritiese kuns word Andy Goldsworthy se ekologiese kuns ten slotte onder die loep geplaas.

“Who inspires who?” Aesthetics in front of AI art

AI art certainly belongs among the most under-researched art forms of today. While the ethical aspects of AI are often discussed, its implications for aesthetics are rarely considered. The reason is perhaps that the ability of AI to produce art is a very recent development. Artificial intelligence is becoming more and more important nowadays due to the many changes it has made in our lives. In this context, one of the most surprising fields in which AI has suddenly progressed in the last few years concerns the very human (until now) capacity for artistic (and in a more general sense, aesthetic) expression. However, the general public still tends to confuse AI art with the more general category of digital art, and what AI really does in the artistic field is scarcely known. AI art is not only computer assisted but computer generated. In AI art there is at least one part of the artistic process that is left to the machine. The artist gives the AI some data and has to wait, in order to see how the AI will elaborate upon them. AI, therefore, becomes not just a tool for artists, but also something different, the nature of which needs to be explored. What does AI art have to say about our way of seeing art, and perhaps about our way of seeing the world in general? This will be the leading question of this paper, which will be addressed through the analysis of some relevant aspects of this new kind of art.

Death Existentiality in Philosophical Novels of Aldous Huxley: Culturological Approach

Cultural studies cover the genesis and development of culture as a specific human lifestyle. Its universals are representations of human cultural experience, including humans, their life and death. The meaning of human life, death, and immortality became the main objects for consideration and research at all stages of Aldous Huxley’s literary activity.The analysis of his early philosophical novels and novels that offer an anti-utopian model of culture shows his tendency to destroy his characters in order to defend their personalities, a refusal to accept the patterns of ordinary being, when the man’s will is aimed only at self-preservation and reproduction. To identify this tendency, we studied the novels Crome Yellow, Antic Hay, Point Counter Point, Eyeless in Gaza, After Many a Summer, Time Must Have a Stop, Brave New World, Ape and Essence. At this stage of spiritual search, A. Huxley justifies suicide as a way of self-realization.Having reached the level of the philosophical outlook, A. Huxley proposes and promotes the spiritual ideals of self-improvement, love for neighbour as for ‘another one’, the attitude to death as an existential, which is a certain stage of human existence, not tragic but natural. It is reflected in the novel Island. Thanatology is one of the main subjects at school. The yoga of death is promoted: it treats life and death as a single entity, as a kind of art, which should result in Paranirvana.The article proves that A. Huxley’s stance on the problems of purpose of life, death, and immortality had been changing along with the evolution of his outlook. It is shown how this genesis is reflected in A. Huxley’s literary works. Death in A. Huxley’s works is interpreted via meta-anthropological approach as the existential transcendent being of man.

Performance Art: Interart, Intermediality and Interdisciplinarity

At the end of the 20th century performance art, as a rule, avoids pigeonholing itself as a separate form of the creative process, particular scientific orientation, or a definitive kind of art; it is an art of subliminal hints that everyone can perceive at their own discretion. Performance art involves mandatory involvement of the public and active communicative function. In an attempt to draw the attention of the public to the problem in performance art irony, epatage, exaggeration, metaphor, and association highlights of socialphenomena that provoke the viewer indirectly or directly to some action or reflection on certain social issues, connecting the moment of interactivity are widely used. In addition, public art, which includes performance art, focuses on the unprepared spectator and involves communication with the city’s space and its inhabitants. Democracy in performance art is manifested through the choice of a topic that can relate to any aspect of life. All performances art in the early 21st century are united by external orientation, having an onlooker in mind, but any individual performance art is aimed at the idea of awakening the mind of the viewer.

THE SYNTHESIS OF PAINTING AND MUSIC: WASSILY KANDINSKY – ALFRED SCHNITTKE

The interaction between colors and sounds, music and painting has existed long since. Throughout the centuries these two kinds of art have been developing simultaneously and in close contact with each other, besides. Composers, especially those of the 20th century, find in the sphere of painting images for their musical compositions, without trying to depict definite plot lines or specific landscape sketches. The paper analyzes a specific composition by Alfred Schnittke – Wassily Kandinsky – The Yellow Sound. Research aim: to investigate the features of musical implementation of W. Kandinsky’s ideas by Alfred Schnittke on the basis of a comparative analysis of specific compositions of both authors. Research method: a comparative analysis

Research and Practice of Search Engine Technology in Mobile Internet Music Field

With the continuous progress of global information construction, massive text information and multimedia information can be retrieved and used on the Internet, and music, as an important part of multimedia, has a huge amount of information. Music is a kind of art, which expresses people’s thoughts and feelings and reflects real life through the artistic image formed by organized music. Music is not only an art, but also a social phenomenon of human beings, which is produced with the appearance of human beings. In order to optimize the music search experience of mobile Internet users, new requirements are put forward for the performance of search engine, search precision and recall, and timeliness of update. The classification of music files in the existing Internet music library is only based on the superficial text information such as style, age, creator, etc., without considering the influence of music on human emotion. In order to improve and solve these two problems, this paper proposes a semantic based music retrieval.

The Representation of Social Reality in Saraiki Dramas Roshan Zameer and Qatil e Hamsheer

The Genre of Drama had always been reflective of social life. The history of drama is as old as of humans on earth. Saraiki drama is believed to be developed from undeveloped but organized expressions of caricatures; such kind of organized caricature is found still in the local area. It is a tradition that people of the lower caste named Bhaands. This kind of art was established by the people who were very poor, and they used to caricature the rich and gentry to amuse them and other people. The present study is aimed to trace the social realities and their representation in Saraiki Drama. Two Saraiki dramas Roshan Zameer and Qatil e Hamsheer had been analyzed in light of the Qualitative Content Analysis model proposed by Altheide(1996). It has been found that selected Saraiki dramas speak the prevailing ideological, social realities. It is suggested that more studies should be conducted to explore tradition and social realities existing in the Saraiki region so that regional social and cultural traditions may get a voice in international literary landscapes.

Kunstbezit in Leiden in de 17de eeuw

This article originally appeared as “Kunstbezit in Leiden in de 17de eeuw” in Th. H. Lunsingh-Scheurleer et al., Het Rapenburg: Geschiedenis van een Leidse gracht, vol. 5b, (Leiden: Rijksuniversiteit Leiden, 1990), 3–36. The larger publication comprises eleven volumes on the architecture, interior decoration, residents’ histories, and contents of the houses in this section of the Rapenburg, from the Middle Ages to the twentieth century. Fock’s chapter centers on art owned by collectors and others living on Leiden’s famous canal—their professions, social status, the kinds of art that they had in their possession, and the positioning of those works within their households. Works have been identified with the aid of auction catalogues and public notarial inventories.