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Träfflista för sökning "hsv:(HUMANITIES) hsv:(Other Humanities) hsv:(Classical Archaeology and Ancient History) "

Sökning: hsv:(HUMANITIES) hsv:(Other Humanities) hsv:(Classical Archaeology and Ancient History)

  • Resultat 51-60 av 1454
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51.
  • Golfomitsou, Stavroula, 1972, et al. (författare)
  • The role of educators in promoting collaborative research
  • 2017
  • Ingår i: CeROArt. - 1784-5092.
  • Tidskriftsartikel (refereegranskat)abstract
    • This paper examines some of the current science policy paradigms set at international level to promote open science and participatory research, and discusses how key factors necessary for successful collaboration can usefully contribute to the training of future conservation professionals through group work and research-based learning programmes.
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52.
  • Hallgren, Cajsa, et al. (författare)
  • Flamskyddsmedlen och konservatorn
  • 2012
  • Ingår i: Textilkonservering : att vårda ett kulturarv / Svenska föreningen för textilkonservering. - 0280-4174. - 9789176862438 ; 86, s. 208-214
  • Bokkapitel (populärvet., debatt m.m.)
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56.
  • Söderlind, Ulrica, 1967- (författare)
  • De olympiska spelen och kosthållning
  • 2004
  • Ingår i: Medusa. Svensk tidskrift för antiken. - Stockholm : Tidskriften Medusa. - 0349-456X. ; :1, s. 29-36
  • Tidskriftsartikel (populärvet., debatt m.m.)
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57.
  • Thykier Makeeff, Tao (författare)
  • Homeric Hipsters : Religion and Reception in the Marketing of Greek Male Grooming Products
  • 2017
  • Ingår i: Thersites. - 2364-7612. ; 6, s. 351-364
  • Tidskriftsartikel (refereegranskat)abstract
    • This paper investigates the use of Ancient Greek imagery in the marketing of male grooming products. Based on a case study of the cosmetics brand HOMMER, the paper analyses how elements such as scent and product ingredients combined with a visual profile and storytelling, provide consumers with elements for an experientially based identity creation. Based on psychological and archaeological theory, the athour argues that the intersection between product, advertising and consumer constitutes a play with identity and the potential for multisensory "time travel." By identifying the elements of a product poster, the visual narrative of a single product, a beard wipe, is shown to contain all the elements of the dominant Modern Greek national narrative and more, tying Greek notions of ancient and modern history to anglo-saxon sailor symbolism and the Neo-hipster phenomenon.
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58.
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59.
  • Westin, Jonathan, 1980 (författare)
  • Negotiating 'Culture', Assembling a Past: the Visual, the Non-Visual and the Voice of the Silent Actant
  • 2012
  • Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
    • The aim of this thesis is to describe and analyse the processes surrounding the creation of a scientific visual representation, where, both in the practical creation of this visualisation and in the way it is communicated, those actants which amount to what we call ‘culture’ or cultural value, are enrolled or ignored. Trying to answer if a broader set of non-visual cultural properties can be identified and their influence described, and if history can be visualised without displacing our knowledge of the past in favour of a popular representation thereof, I trace the interaction between client, artist, technology and target audience. Although the audience is not permitted to take part in the meetings and walk the floors of the studios, and thus seem to remain silent, I argue nonetheless that their voices are heard during the assembling of a visual representation. Furthermore, offering the audience a tool is not enough to entice them to form their own ideas and exercise influence: although often presented as a visitor-empowering pedagogic technique which invites different interpretations of the material at display, the interactive technology offered by museums and educators is a tool of conformity which disciplines the audience and must therefore be treated as such. An object is not an entity which can be separated into artefact and context, but a hybrid made up of associations spread over both space and time. To describe this, and capture how visual representations can represent ‘culture’, I have developed an analytical vocabulary where the absolute limitations of an artefact or phenomenon is the point of departure. As the vocabulary of limitations demonstrates, limitations constitute the borders of an expression and permit an explanation of how associated actants are shaped by these borders into what we have come to refer to as ‘culture’.
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60.
  • Westin, Jonathan, 1980, et al. (författare)
  • Polychronia – negotiating the popular representation of a common past in Assassin's Creed
  • 2016
  • Ingår i: Journal of Gaming & Virtual Worlds. - : Intellect. - 1757-191X .- 1757-1928. ; 8:1, s. 3-120
  • Tidskriftsartikel (refereegranskat)abstract
    • Several of the most successful large scale digital simulations in recent years are found in the immensely popular game series Assassin's Creed, developed by Ubisoft. A variety of monuments and places figure prominently throughout the series, but at different levels of detail and accuracy. While not presenting a thoroughly imagined representation of any time period or place, these recreations emphasize the epistemological impact of particular visual modes when communicating the past, representing the collective idea of a place or time, rather than archaeological or historical facts. The time and spaces presented in the game series give us an opportunity to study how representations of the past can be assembled to be recognizable to a wide audience. This, in turn, gives us insight into the mechanics of cultural memory. In order to analyze these mechanics we analyze the representation of the city of Rome created for Assassin´s Creed 2: Brotherhood, the third main installment of the series. Not only has Rome been the subject of several centuries of archaeological reconstructions, but due to the countless popular representations available, the city holds a strong position in the public consciousness. In Ubisoft’s version of Rome, the archaeological record and popular imagination meet, are combined, and sometimes collide. We argue that Rome as we encounter it here amounts to a concept which we call ”polychronia”, a place where several timelines exist simultaneously in an organized manner to appeal to a common understanding. As a polychonia, the representation of Rome is made more recognizable to the recipient than a representation solely reflecting expert knowledge.
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