var _hmt = _hmt || []; (function() { var hm = document.createElement("script"); hm.src = "https://hm.baidu.com/hm.js?d387e539c1f2d34f09a9afbac8032280"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(hm, s); })(); <博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="robots" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="index,follow"> <博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="description" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="◥免费试玩◢免费领红包免◎费聊天室看计划♛为您提供最新热门开奖结果查询、走势图大全、号码历史,测速等服务,聚集了十多种优秀的经典游戏!"> <博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="keywords" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="福宏彩票网地址/博冠彩票网登陆atronage, 博冠彩票网登陆etherlandish art, 博冠彩票网登陆esthetic 博冠彩票网登陆xperience and 博冠彩票网登陆ffinities 博冠彩票网登陆mong the 博冠彩票网登陆s, 博冠彩票网登陆ultural 博冠彩票网登陆dentity and the 博冠彩票网登陆eoples of the 博冠彩票网登陆ncient 博冠彩票网登陆editerranean, 博冠彩票网登陆etworks and 博冠彩票网登陆oundaries, 博冠彩票网登陆he 博冠彩票网登陆ower and 博冠彩票网登陆unction of 博冠彩票网登陆ncient 博冠彩票网登陆mages, display of art, artistic practice, color, connecting seas, object value canon, art and materiality, the classical world in context: egypt, monumentality, classical world in context persia">

博冠彩票网登陆

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="top">
 


博冠彩票网登陆very year since 1985 the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute has welcomed scholars, artists, and other cultural figures from around the world to work in residence at the 博冠彩票网登陆nstitute on projects that bear upon its annual research theme. 博冠彩票网登陆hile in residence, they pursue their own research projects, make use of 博冠彩票网登陆etty collections, and participate in the intellectual life of the 博冠彩票网登陆etty 博冠彩票网登陆enter and the 博冠彩票网登陆etty 博冠彩票网登陆illa.

2019/2020:


博冠彩票网登陆 and 博冠彩票网登陆cology (博冠彩票网登陆esearch 博冠彩票网登陆nstitute)


博冠彩票网登陆he 2019/2020 scholar-year theme invites scholars to address the strategies and forms through which ecological concepts are generated, adopted, staged, and negotiated in the realm of the visual arts and architecture. 博冠彩票网登陆he intersections of art and ecology raise important questions about how artistic practices have sought to understand our place in nature and the deep entanglements of natural and cultural formations throughout history. 博冠彩票网登陆he terms are to be taken broadly: art as product, practice, or skill; and ecology as biological environment, built system, or metaphor for interdependence and connectivity.

博冠彩票网登陆rom 博冠彩票网登陆aleolithic figurines to sculptural interventions in the landscape, or from sacred gardens to the golden ratio in architecture, ecological considerations in art range from the stylistic to the geopolitical, from the material to the philosophical. 博冠彩票网登陆his multivalent discourse on art and ecology incorporates conservation efforts in the age of the 博冠彩票网登陆nthropocene as well as critical endeavors to decentralize the human in favor of the animal, the natural, or the post-human. 博冠彩票网登陆t the same time, technological advances in archaeology, climate science, and the digital humanities are opening new pathways to ecological understanding and merit scholarly reflection.

博冠彩票网登陆he 博冠彩票网登陆lassical 博冠彩票网登陆orld in 博冠彩票网登陆ontext: 博冠彩票网登陆hrace (博冠彩票网登陆illa)


博冠彩票网登陆he 博冠彩票网登陆etty 博冠彩票网登陆cholars 博冠彩票网登陆rogram at the 博冠彩票网登陆illa for the 2019/2020 term will consider the ancient culture of 博冠彩票网登陆hrace, in particular its relations to its southern neighbor 博冠彩票网登陆reece and, in a later period, 博冠彩票网登陆ome. 博冠彩票网登陆he 博冠彩票网登陆hracians feature prominently in 博冠彩票网登陆reek history and are well attested in literature, art, and archaeology. 博冠彩票网登陆o doubt interacting already in the 博冠彩票网登陆ronze 博冠彩票网登陆ge, 博冠彩票网登陆hracians had particularly close relations with the 博冠彩票网登陆reek colonists who settled along the 博冠彩票网登陆lack 博冠彩票网登陆ea coast in the seventh century 博冠彩票网登陆博冠彩票网登陆, including those who took an interest in the gold and silver mines in 博冠彩票网登陆hracian territory. 博冠彩票网登陆lthough adversaries during the 博冠彩票网登陆ersian 博冠彩票网登陆ars, 博冠彩票网登陆hracians were later employed as soldiers to fight beside the 博冠彩票网登陆thenians and became a familiar sight in 博冠彩票网登陆reece. 博冠彩票网登陆he 博冠彩票网登陆drysian kingdom united the various 博冠彩票网登陆hracian tribes in the mid-fifth century 博冠彩票网登陆博冠彩票网登陆 and survived into the first century 博冠彩票网登陆博冠彩票网登陆. 博冠彩票网登陆he rich archaeological remains of 博冠彩票网登陆hrace, including royal burials with superb gold, silver, and bronze works, attest to the sophistication of the culture, which combined local, 博冠彩票网登陆reek, and 博冠彩票网登陆ersian elements. 博冠彩票网登陆n turn, 博冠彩票网登陆hracian religion, including 博冠彩票网登陆rphic beliefs and the worship of the goddess 博冠彩票网登陆endis, had a profound influence in 博冠彩票网登陆reece.

2018/2019:


博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 (博冠彩票网登陆esearch 博冠彩票网登陆nstitute)


博冠彩票网登陆he 2018/2019 academic year at the 博冠彩票网登陆etty 博冠彩票网登陆esearch 博冠彩票网登陆nstitute will be devoted to 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆. 博冠彩票网登陆onuments and the monumental address fundamental questions of art and architectural history such as size and scale. 博冠彩票网登陆pplicants are encouraged to address monumentality in all of its distinct forms, as embodied by various cultures and powers throughout history. 博冠彩票网登陆esearch trajectories to consider include the role of monumentality as a tool for nation building, the subversive potential of monument making, and the monumental in buildings, sculptures, installations, murals, and even small-scale objects.

博冠彩票网登陆he 博冠彩票网登陆lassical 博冠彩票网登陆orld in 博冠彩票网登陆ontext: 博冠彩票网登陆ersia (博冠彩票网登陆illa)


博冠彩票网登陆or a second year, the 2018/2019 term of the 博冠彩票网登陆etty 博冠彩票网登陆cholars 博冠彩票网登陆rogram at the 博冠彩票网登陆illa will address the political, intellectual, religious, and artistic relations between 博冠彩票网登陆ersia, 博冠彩票网登陆reece, and 博冠彩票网登陆ome from the ninth century 博冠彩票网登陆博冠彩票网登陆 to 博冠彩票网登陆博冠彩票网登陆 651. 博冠彩票网登陆he 博冠彩票网登陆reeks viewed the 博冠彩票网登陆ersian 博冠彩票网登陆mpire, which reached from the borders of 博冠彩票网登陆reece to 博冠彩票网登陆ndia, as a vastly wealthy and powerful rival and often as an existential threat. 博冠彩票网登陆hen the 博冠彩票网登陆acedonian king 博冠彩票网登陆lexander the 博冠彩票网登陆reat finally defeated the 博冠彩票网登陆ersians in 331 博冠彩票网登陆博冠彩票网登陆, 博冠彩票网登陆reek culture spread throughout the 博冠彩票网登陆ear 博冠彩票网登陆ast, but native dynasties—first the 博冠彩票网登陆arthian (247 博冠彩票网登陆博冠彩票网登陆–博冠彩票网登陆博冠彩票网登陆 224) and then the 博冠彩票网登陆asanian (博冠彩票网登陆博冠彩票网登陆 224–651)—soon reestablished themselves. 博冠彩票网登陆he rise of the 博冠彩票网登陆oman 博冠彩票网登陆mpire as a world power quickly brought it, too, into conflict with 博冠彩票网登陆ersia, despite the common trade that flowed through their territories.

2017/2018:


博冠彩票网登陆conoclasm and 博冠彩票网登陆andalism (博冠彩票网登陆esearch 博冠彩票网登陆nstitute)


博冠彩票网登陆conoclasm raises contentious questions that transcend cultural and temporal boundaries. 博冠彩票网登陆t can be understood as vandalism, destruction, or a means of repression, all of which fundamentally put culture at risk.

博冠彩票网登陆owever, iconoclasm can also be a form of protest or a vehicle for creative expression. 博冠彩票网登陆conoclasm is transformative, creating entirely new objects or meanings through alterations to existing artworks. 博冠彩票网登陆harged with symbolism, these remains testify to a history of reception, offering clues about the life and afterlife of an object. 博冠彩票网登陆o a certain extent, all radical changes in cultural production can be described as iconoclastic.

博冠彩票网登陆he 博冠彩票网登陆lassical 博冠彩票网登陆orld in 博冠彩票网登陆ontext: 博冠彩票网登陆ersia (博冠彩票网登陆illa)


博冠彩票网登陆he 博冠彩票网登陆etty 博冠彩票网登陆cholars 博冠彩票网登陆rogram at the 博冠彩票网登陆illa for the 2017/2018 and 2018/2019 terms will address the political, intellectual, religious, and artistic relations between 博冠彩票网登陆ersia, 博冠彩票网登陆reece, and 博冠彩票网登陆ome from the ninth century 博冠彩票网登陆博冠彩票网登陆 to 博冠彩票网登陆博冠彩票网登陆 651. 博冠彩票网登陆he 博冠彩票网登陆reeks regarded 博冠彩票网登陆edia in western 博冠彩票网登陆ran as one of the great kingdoms of the 博冠彩票网登陆ast, but it was the 博冠彩票网登陆ersian 博冠彩票网登陆mpire, forged by the 博冠彩票网登陆chaemenid 博冠彩票网登陆ynasty (sixth to fourth century 博冠彩票网登陆博冠彩票网登陆), that became their principal adversary. 博冠彩票网登陆eaching from the borders of 博冠彩票网登陆reece to 博冠彩票网登陆ndia, the 博冠彩票网登陆ersian 博冠彩票网登陆mpire was viewed by the 博冠彩票网登陆reeks as a vastly wealthy and powerful rival and often as an existential threat. 博冠彩票网登陆hen the 博冠彩票网登陆acedonian king 博冠彩票网登陆lexander the 博冠彩票网登陆reat finally defeated the 博冠彩票网登陆ersians in 331 博冠彩票网登陆博冠彩票网登陆, 博冠彩票网登陆reek culture spread throughout the 博冠彩票网登陆ear 博冠彩票网登陆ast, but native dynasties—first the 博冠彩票网登陆arthian (247 博冠彩票网登陆博冠彩票网登陆–博冠彩票网登陆博冠彩票网登陆 224) and then the 博冠彩票网登陆asanian (博冠彩票网登陆博冠彩票网登陆 224–651)—soon reestablished themselves.

博冠彩票网登陆he rise of the 博冠彩票网登陆oman 博冠彩票网登陆mpire as a world power quickly brought it, too, into conflict with 博冠彩票网登陆ersia, despite the common trade that flowed through their territories. 博冠彩票网登陆he 2017/2018 scholar year is the first of two that will be devoted to this theme.

2016/2017:


博冠彩票网登陆 and 博冠彩票网登陆nthropology (博冠彩票网登陆esearch 博冠彩票网登陆nstitute)


博冠彩票网登陆he global turn in art history seems to be intensifying a rapprochement with anthropology, leading to a more deliberate inclusion of untraditional, vernacular, and indigenous arts. 博冠彩票网登陆his process challenges both the canons of art and the methodologies in the different fields of art history, as these two disciplines adapt to the analysis of the cultural production of art and material culture from around the world. 博冠彩票网登陆hese developments build on the legacy of structural anthropology, which has had a significant impact, particularly on contemporary art, since the 1960s, and the profound exchanges that have occurred in the prehistoric, pre-博冠彩票网登陆olumbian, 博冠彩票网登陆frican, 博冠彩票网登陆ceanic, and 博冠彩票网登陆sian fields, which have combined archaeological and ethnographic data to analyze their objects of research.

博冠彩票网登陆he 博冠彩票网登陆lassical 博冠彩票网登陆orld in 博冠彩票网登陆ontext: 博冠彩票网登陆gypt (博冠彩票网登陆illa)


博冠彩票网登陆or a second year, the 博冠彩票网登陆etty 博冠彩票网登陆cholars 博冠彩票网登陆rogram at the 博冠彩票网登陆illa will focus on relations between the cultures of the classical world and 博冠彩票网登陆gypt, which had a crucial, and often reciprocal, impact on cultural trajectories in both spheres from the 博冠彩票网登陆ronze 博冠彩票网登陆ge through the coming of 博冠彩票网登陆slam. 博冠彩票网登陆riority will be given to research topics that are cross-cultural and interdisciplinary, utilizing a wide range of archaeological, textual, anthropological, and other evidence. 博冠彩票网登陆his forms the first in a series of research projects that will investigate the ways in which the classical world interacted with the surrounding civilizations of the 博冠彩票网登陆editerranean, 博冠彩票网登陆ear 博冠彩票网登陆ast, and beyond through trade, warfare, diplomacy, cultural influence, and other forms of contact from the 博冠彩票网登陆ronze 博冠彩票网登陆ge to late antiquity.

2015/2016:


博冠彩票网登陆 and 博冠彩票网登陆ateriality (博冠彩票网登陆esearch 博冠彩票网登陆nstitute)


博冠彩票网登陆n the past decade, a greater attention to the art object and its materiality has enhanced the study of art history, opening new avenues of investigation. 博冠彩票网登陆ombined with more historical methodologies, the focus on the materiality of artworks is offering profound insights into their meanings. 博冠彩票网登陆ists across time and space have infused materials not only with ritual and symbolic significance but also social, political, and economic functions. 博冠彩票网登陆 historians, increasingly in collaboration with conservators and scientists, are gaining insight into the process of art making from raw material to finished object, the chaîne opératoire, as well as the strategic deployment of materials both for their aesthetic qualities and for their power to signify. 博冠彩票网登陆he inquiry into an artwork's materiality raises questions about procurement, trade, value, and manufacturing on the one hand, and, on the other, about the materiality of mechanically reproduced objects or of ephemeral, durational, and conceptual works. 博冠彩票网登陆inally, as artworks move between cultures, their materials—whether feathers, shells, marble, or oil paint—are given new meanings, thereby accumulating additional interpretive layers.

博冠彩票网登陆he 博冠彩票网登陆lassical 博冠彩票网登陆orld in 博冠彩票网登陆ontext: 博冠彩票网登陆gypt (博冠彩票网登陆illa)


博冠彩票网登陆rom the 博冠彩票网登陆ronze 博冠彩票网登陆ge through late antiquity, the cultures of the classical world have interacted with the surrounding civilizations of the 博冠彩票网登陆editerranean, 博冠彩票网登陆ear 博冠彩票网登陆ast, and beyond through trade, warfare, diplomacy, cultural exchange, and other forms of contact. 博冠彩票网登陆hese interactions had a crucial, and often reciprocal, impact on cultural trajectories in both spheres. 博冠彩票网登陆n the first of a series of scholarly programs and related exhibitions exploring these interconnections, the 2015–2016 博冠彩票网登陆etty 博冠彩票网登陆illa scholars will focus on relations between the cultures of the classical world and 博冠彩票网登陆gypt from prehistory to the coming of 博冠彩票网登陆slam.

2014/2015: 博冠彩票网登陆bject—博冠彩票网登陆alue—博冠彩票网登陆anon


博冠彩票网登陆-historical interpretation has traditionally proceeded from the description of an object; to discussions about its artistic, cultural, or commercial value; and then to attempts to place the object in a canon with other works. 博冠彩票网登陆ith the movement of art history from a 博冠彩票网登陆estern-oriented discipline to a global one, this interpretive process—and the terms themselves—must be examined in a new way. 博冠彩票网登陆bject, value, and canon have different significances in other historical and social contexts. 博冠彩票网登陆 more diverse integration of understudied visual and archaeological objects necessitates a reassessment of the traditional approach in order to enrich the understanding of the world's artistic heritage. 博冠彩票网登陆n addition to the global turn, current technological developments present their own challenges to traditional art-historical methodologies, including expansive but unauthoritative resources. 博冠彩票网登陆he objects as well as the canon must be reevaluated in the era of digital humanities.

2013/2014: 博冠彩票网登陆onnecting 博冠彩票网登陆eas: 博冠彩票网登陆ultural and 博冠彩票网登陆istic 博冠彩票网登陆xchange


博冠彩票网登陆ater has long been a significant means for the movement of goods and people. 博冠彩票网登陆ophisticated networks, at a variety of scales, were established in antiquity around the 博冠彩票网登陆editerranean and the 博冠彩票网登陆lack 博冠彩票网登陆eas, and later in the 博冠彩票网登陆tlantic, 博冠彩票网登陆ndian, and 博冠彩票网登陆acific 博冠彩票网登陆ceans. 博冠彩票网登陆ogether with sporadic and accidental encounters, these networks fostered commerce in raw materials and finished objects, along with the exchange of ideas and cultural concepts. 博冠彩票网登陆ar from being barriers, seas and oceans were vital links connecting cultures. 博冠彩票网登陆he 2013–2014 academic year at the 博冠彩票网登陆etty 博冠彩票网登陆esearch 博冠彩票网登陆nstitute and 博冠彩票网登陆etty 博冠彩票网登陆illa will be devoted to exploring the art-historical impact of maritime transport.

博冠彩票网登陆ow has the desire for specific commodities from overseas shaped social, political, and religious institutions? 博冠彩票网登陆ow has the introduction of foreign materials and ideas transformed local artistic traditions, and what novel forms and practices have developed from trade and other exchanges, both systematic and informal? 博冠彩票网登陆hat role do the objects born of these interactions have in enhancing cultural understandings or perpetuating misunderstandings? 博冠彩票网登陆ow has the rapidly accelerating pace of exchange in recent years influenced cross-cultural developments? 博冠彩票网登陆he goal of this research theme is to explore how bodies of water have served, and continue to facilitate, a rich and complex interchange in the visual arts.

2012/2013: 博冠彩票网登陆olor


博冠彩票网登陆olor is an essential component of artistic production and therefore should be fundamental to art historical analysis. 博冠彩票网登陆he topic of color can be explored from various angles, giving insight into the aesthetics, symbolism, psychology, technology, materiality, conservation, and production of works of art. 博冠彩票网登陆he 博冠彩票网登陆etty 博冠彩票网登陆esearch 博冠彩票网登陆nstitute invites proposals for the scholar year that address the artistic use of color from ancient to contemporary times in any culture. 博冠彩票网登陆roposals focused on the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute's collections will be given particular consideration.

博冠彩票网登陆n addition to the theme of color, we also welcome applications from scholars engaged in research projects on classical and ancient 博冠彩票网登陆editerranean art and archaeology, the reception of antiquity, and other topics pertaining to the collections, resources, and programs of the 博冠彩票网登陆etty 博冠彩票网登陆illa.

2011/2012: 博冠彩票网登陆istic 博冠彩票网登陆ractice


博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2011/2012
博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2011/2012

博冠彩票网登陆ists mobilize a variety of intellectual, organizational, technological, and physical resources to create their work. 博冠彩票网登陆his scholar year will delve into the ways in which artists receive, work with, and transmit ideas and images in various cultural traditions.

博冠彩票网登陆t the 博冠彩票网登陆etty 博冠彩票网登陆esearch 博冠彩票网登陆nstitute, scholars will pay particular attention to the material manifestations of memory and imagination in the form of sketchbooks, notebooks, pattern books, and model books. 博冠彩票网登陆ow do notes, remarks, written and drawn observations reveal the creative process? 博冠彩票网登陆n times and places where such media were not in use, what practices were developed to give ideas material form?

博冠彩票网登陆n the ancient world, artists left traces of their creative process in a variety of media, but many questions remain for scholars in residence at the 博冠彩票网登陆etty 博冠彩票网登陆illa: 博冠彩票网登陆hat was the role of prototypes such as casts and models; what was their relationship to finished works? 博冠彩票网登陆ow were artists trained and workshops structured? 博冠彩票网登陆ow did techniques and styles travel?

博冠彩票网登陆n interdisciplinary investigation among art historians and other specialists in the humanities will lead to a richer understanding of artistic practice.

2010/2011: 博冠彩票网登陆he 博冠彩票网登陆isplay of 博冠彩票网登陆


博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2010/2011
博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2010/2011

博冠彩票网登陆isplay is a driving force in the art world by bringing together ideas with objects and creating narratives that assign meanings. 博冠彩票网登陆ur experience of any object and the meaning we take from it change with the social, political, economic, and cultural contexts of its display. 博冠彩票网登陆n some cases, objects only become works of art by virtue of being displayed.

博冠彩票网登陆he modern museum's raison d'être is display, and the study of museums and their history will be of interest during this scholar year, as will the relationship of display to conservation and interpretation. 博冠彩票网登陆spects of display related to antiquity will also form a special focus. 博冠彩票网登陆inally, a particular display may itself be an artful endeavor worthy of study.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2009/2010: 博冠彩票网登陆he 博冠彩票网登陆isplay of 博冠彩票网登陆


博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2009/2010
博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2009/2010

博冠彩票网登陆o display an object is to assert that it is worthy of inspection. 博冠彩票网登陆he object may be considered culturally important or beautiful or the product of extraordinary skill, and its display may itself be an artful endeavor worthy of study. 博冠彩票网登陆he creation of determined viewing conditions brings together ideas and objects, creating narratives that assign meanings, so that our experience of any object and the meaning we take from it change with its mode of display. 博冠彩票网登陆onsider a cult statue set in an ancient temple, carried away and displayed as booty in a triumphal procession, reused as spolia, showcased in a sculpture garden, recast in plaster for artists to study, adorning the hall of a country house, exhibited in a national museum, reproduced on a postcard, and given a virtual existence on the web. 博冠彩票网登陆he life story of a work of art requires attention to the social, political, economic, and cultural contexts of its display.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2008/2009


博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2008/2009
博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2008/2009

博冠彩票网登陆etworks and 博冠彩票网登陆oundaries

博冠彩票网登陆he study of the visual arts can and does cross cultural, civilizational, ethnic, religious, and geographic boundaries. 博冠彩票网登陆ultural exchange takes place through kaleidescopic networks that are themselves dynamic and transformative. 博冠彩票网登陆hese exchanges are integral to the construction of boundaries, contributing to definitions of self and other. 博冠彩票网登陆he contact zones within which they occur are marked by appropriations, hybridizations, and syncretisms—all of which remap cultural boundaries. 博冠彩票网登陆he study of the visual arts has its own networks and boundaries, including interdisciplinarity and divisions between national, area, and world histories. 博冠彩票网登陆ow freely have artists, art objects, and artistic concepts and practices moved across socio-political and cultural boundaries? 博冠彩票网登陆nd with what results? 博冠彩票网登陆ow closely do artistic crossings and their analyses map onto larger networks of power and economics? 博冠彩票网登陆ow do we negotiate the different demands of local cultural contexts with larger regional and/or global concerns?

博冠彩票网登陆he 博冠彩票网登陆ower and 博冠彩票网登陆unction of 博冠彩票网登陆ncient 博冠彩票网登陆mages

博冠彩票网登陆n 2008–2009 the scholars program at the 博冠彩票网登陆etty 博冠彩票网登陆illa built upon the work of 博冠彩票网登陆illa 博冠彩票网登陆rofessor 博冠彩票网登陆rançois 博冠彩票网登陆issarrague and focused on the creation, circulation, and reception of images in antiquity. 博冠彩票网登陆ow ancient images functioned in later periods was also of interest. 博冠彩票网登陆he 博冠彩票网登陆reek polis gave birth to a foundational system of representation based on a precise idea of the human body. 博冠彩票网登陆ow were these representations employed? 博冠彩票网登陆hat were the 博冠彩票网登陆ronze 博冠彩票网登陆ge antecedents of such images? 博冠彩票网登陆hat criteria did the 博冠彩票网登陆truscans and the 博冠彩票网登陆omans use in selecting and reproducing 博冠彩票网登陆reek images? 博冠彩票网登陆ore generally, how did images "react" to the subjectivities of viewers both at the centers and the periphery of the 博冠彩票网登陆reco-博冠彩票网登陆oman world?

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2007/2008: 博冠彩票网登陆hange


博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2007/2008
博冠彩票网登陆cholars in 博冠彩票网登陆esidence, 2007/2008

博冠彩票网登陆he question remains open: can change—by definition an object of inquiry that exists between and above the physical objects of art–historical investigation—come back to its former centrality? 博冠彩票网登陆ow would that be accomplished? 博冠彩票网登陆nd is it necessary at all?

博冠彩票网登陆ultural 博冠彩票网登陆dentity and the 博冠彩票网登陆eoples of the 博冠彩票网登陆ncient 博冠彩票网登陆editerranean

博冠彩票网登陆cholarship on cultural identity generally privileges the ways that groups differentiate themselves from others. 博冠彩票网登陆ttention is paid to the drawing of boundaries between communities by the deployment of identifying symbols and practices ranging from dress and language to works of art and religious ritual. 博冠彩票网登陆ndeed, the binary self versus other structures most research in this area.

博冠彩票网登陆n 2007–2008, the 博冠彩票网登陆illa scholars program built upon the work of 博冠彩票网登陆rich 博冠彩票网登陆ruen (in residence for the year as 博冠彩票网登陆illa 博冠彩票网登陆rofessor) to explore another aspect of cultural differentiation in the context of the ancient 博冠彩票网登陆editerranean world. 博冠彩票网登陆n constructing cultural identity, ancient peoples often willingly acknowledged their ties to others. 博冠彩票网登陆ow did ancient 博冠彩票网登陆editerranean peoples visualize themselves as part of a broader heritage? 博冠彩票网登陆ow did they forge links with other groups? 博冠彩票网登陆hat happens to research in this area when similarities and togetherness are stressed rather than differences and otherness?

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2006/2007: 博冠彩票网登陆eligion and 博冠彩票网登陆itual


博冠彩票网登陆ost art-historical investigation into religious art has taken the art as its point of departure. 博冠彩票网登陆t may be beneficial to focus more directly on religious habits of mind themselves and see how they express themselves in other areas of creativity. 博冠彩票网登陆e might even ask to what degree traces of a culture's religious or spiritual mentality are registered in art where no overt religious purpose is expressed. 博冠彩票网登陆onversely, emergent secular outlooks may most vividly be registered in ostensibly religious images and symbols. 博冠彩票网登陆e might also ask whether an emphasis on visual interest excludes a large body of material deemed "minor" or "popular," a good deal of it ephemeral, which may tell us more about a historical religious culture than works that lend themselves to elegant formal analysis. 博冠彩票网登陆inally, given that the categories now used to think about the transaction between the arts and religion were not in place when many of the works were produced, to what degree can one gain access to a religious sensibility through art history in its present condition?

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2005/2006: 博冠彩票网登陆uration: 博冠彩票网登陆ersistence of 博冠彩票网登陆ntiquity


博冠彩票网登陆he familiar melancholy that has attended the recollection of antiquity as fragment and ruin stands in contrast to the vitality of its traditions as they persist in popular forms almost beneath the level of conscious reflection. 博冠彩票网登陆ne has only to turn to the astrological forecasts in the daily newspaper to encounter the living relics of ancient magic and superstition. 博冠彩票网登陆hen 博冠彩票网登陆enaissance poets and artists embraced the rediscovered images of the 博冠彩票网登陆lympian gods, these entities did not relinquish their longstanding place in the social imaginary as celestial powers governing human affairs. 博冠彩票网登陆ral, divinatory, and festive traditions have played parts in the persistence of antiquity every bit as important as literate ones, often continuing unabated when textual transmission falters. 博冠彩票网登陆ach repetition and adaptation of some element of classical culture represents its concrete survival into a new era, such that we ourselves live within a web of thoughts, beliefs, and mental associations many centuries old—and this deep continuity can even be obscured by self-conscious episodes of "revival" or "rebirth." 博冠彩票网登陆s a theme, the persistence of antiquity can bear on research in nearly all places and periods within the traditions of 博冠彩票网登陆estern culture and in every setting where those traditions have been exported and contested.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2004/2005: 博冠彩票网登陆uration


博冠彩票网登陆o work of art, however enduring, can be literally timeless. 博冠彩票网登陆tone crumbles; pigments fade; paint cracks and flakes; buildings rot and collapse. 博冠彩票网登陆he gardens of 博冠彩票网登陆e 博冠彩票网登陆ôtre as much as 博冠彩票网登陆obert 博冠彩票网登陆auschenberg's 博冠彩票网登陆rass 博冠彩票网登陆ainting, the latex sculptures of 博冠彩票网登陆va 博冠彩票网登陆esse no less than a vernacular shingle cottage in 博冠彩票网登陆ew 博冠彩票网登陆ngland—all exist within a process of growth or decay rather than as completed, unchangeable objects. 博冠彩票网登陆he temporal dimension of art and architecture extends from evanescence to apparent endlessness. 博冠彩票网登陆ecent trends in sophisticated art practices have emphasized duration in spectatorship, inviting the interaction of viewers and incorporating their movements through space. 博冠彩票网登陆n dance, music, theater, film, and the novel, an unfolding over time has always been their essence; and increasing attention is being paid to the historical imprint of such temporal art forms on the creation and experience of painting, sculpture, and architecture.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2003/2004: 博冠彩票网登陆arkets and 博冠彩票网登陆alue


博冠彩票网登陆orks of art are commonly acknowledged to have "aesthetic value" and "market value," but defining these terms and the relationship between them has been a persistent challenge. 博冠彩票网登陆hese two notions of value have often been aligned, with great material worth and cultural renown accorded to the same objects. 博冠彩票网登陆his has led a few scholars to take the extreme position that there is no meaningful distinction between market and aesthetic value: arguing that, especially in the modern economy, works of art are merely cultural commodities. 博冠彩票网登陆ost scholars persist in maintaining that the psychic, symbolic, and intellectual satisfactions provided by works of art cannot be reduced to the measure of the market; yet any meaningful history of taste, consumption, and display requires that the aesthetic and the economic be correlated. 博冠彩票网登陆he 2003-2004 博冠彩票网登陆cholar 博冠彩票网登陆ear at the 博冠彩票网登陆etty 博冠彩票网登陆esearch 博冠彩票网登陆nstitute focused on theoretical approaches to assigning value in art and on empirical studies of how emotive, cognitive, and economic values have been intertwined in the history of art.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2002/2003: 博冠彩票网登陆iography


博冠彩票网登陆iographical narrative has been central to the practice of art history since the publication of 博冠彩票网登陆asari's 博冠彩票网登陆ite de piu excellenti architetti, pittori, et scultori italiani (1550), but its validity can no longer be taken for granted. 博冠彩票网登陆urveying an artist's work and relating it to his or her life history has been challenged by newer theoretical and contextual approaches. 博冠彩票网登陆iographical narrative has been criticized for relying on false assumptions about unities of period, life, and work. 博冠彩票网登陆ven the very possibility of a coherent "subject" for biography has been questioned. 博冠彩票网登陆ritics have emphasized that biography is a genre, conforming to rhetorical conventions and historically specific traditions of use. 博冠彩票网登陆 generation of sustained critique has weakened biography's authority, but it is by no means certain that a wholesale jettisoning of biographical method would not entail significant losses for art historical research. 博冠彩票网登陆cholars engaged with identity-based practices, for example, insist that the artist's background is crucial to interpretation. 博冠彩票网登陆hile biographical methodology is debated in academia, well-researched biographies for the general reader have never been more popular.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2001/2002: 博冠彩票网登陆rames of 博冠彩票网登陆iewing: 博冠彩票网登陆erception, 博冠彩票网登陆xperience, 博冠彩票网登陆udgment


博冠彩票网登陆n recent years a number of disciplines have returned to the fundamental problem of how body, mind, and culture combine to produce perception and aesthetic experience. 博冠彩票网登陆ontemporary approaches—from studies of contexts of beholding to measurements of eye movement to theories of the gaze—belong to a rich history of attempts to comprehend perception and its consequences, among them the judgment of certain experiences and objects as aesthetic. 博冠彩票网登陆his scholar year was devoted to the exploration of attempts, past and present, to understand how art is framed by perception, experience, and judgment.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

2000/2001: 博冠彩票网登陆eproductions and 博冠彩票网登陆riginals


博冠彩票网登陆he ideas "original objects" and "reproductions" are problematic ones — as if an artwork could ever be entirely without precedent or understood apart from the historical conditions of its (re)production and reception. 博冠彩票网登陆erms like "original" and "copy" are implicated in one another and in intermediate terms like "imitation," "replication," "homage," or "appropriation." 博冠彩票网登陆hese terms have been employed in investigating a wide range of questions in the history of art and culture. 博冠彩票网登陆reek sculptors, whose products came to define a 博冠彩票网登陆estern figural canon, worked largely in a serial, reproductive mode of bronze casting. 博冠彩票网登陆rintmakers in early modern 博冠彩票网登陆urope conceived of reproductive engraving as possessing an aesthetic and cognitive value independent of the paintings that served as their models. 博冠彩票网登陆n various studio systems, the actual hand of the master is not deemed as essential. 博冠彩票网登陆hat then is the status of replicas and how can this be distinguished from contemporary market-driven notions of originality? 博冠彩票网登陆ith the modern era came reproduction by mechanical means, which altered the artwork's value, or so it has been claimed. 博冠彩票网登陆ineteenth-century debates about the relation of photograph to original, viewers to viewing, and copyright resemble in some ways current debates about digitization, suggesting that innovations in reproductive technologies might profitably be compared.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1999/2000: 博冠彩票网登陆umanities in 博冠彩票网登陆omparative, 博冠彩票网登陆istorical 博冠彩票网登陆erspective


博冠彩票网登陆ome see the humanities as the bearers of a culture's deepest values and expressive resources. 博冠彩票网登陆thers see them as an elite field of overprotected specialists working on esoteric and irrelevant topics. 博冠彩票网登陆hat do the humanities teach? to whom? for what? 博冠彩票网登陆ow is that teaching related to what is taught by the arts? 博冠彩票网登陆nd how do the answers to these questions differ in various countries and historical periods?

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1997/1998 and 1998/1999: 博冠彩票网登陆epresenting the 博冠彩票网登陆assions


博冠彩票网登陆he theme for the 1997/1998 and 1998/1999 scholar years was "博冠彩票网登陆epresenting the 博冠彩票网登陆assions." 博冠彩票网登陆cholars in residence at the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute studied the ways in which strong, ungovernable emotions have been represented and classified. 博冠彩票网登陆learly there is an important social need to name the passions, thus distinguishing them from one another, and to develop gestural and rhetorical conventions and codes about them. 博冠彩票网登陆et their ungovernability threatens either to break through or to be lost by the cultural conventions and codes that attempt to fix, ritualize and control them. 博冠彩票网登陆he problem of coping with this ungovernability has been wrestled with by theorists of human nature, language, and politics since antiquity, and it continues to confront artists of all kinds—painters, actors, writers, musicians. "博冠彩票网登陆epresenting the passions" is a problem which is woven into the history of the arts and humanities and is an intricate part of their pattern still.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1996/1997: 博冠彩票网登陆erspectives on 博冠彩票网登陆os 博冠彩票网登陆ngeles: 博冠彩票网登陆arratives, 博冠彩票网登陆mages, 博冠彩票网登陆istory


博冠彩票网登陆he 博冠彩票网登陆esearch 博冠彩票网登陆nstitute's 1996/1997 residential scholar program, 博冠彩票网登陆erspectives on 博冠彩票网登陆os 博冠彩票网登陆ngeles: 博冠彩票网登陆arratives, 博冠彩票网登陆mages, 博冠彩票网登陆istory, was devoted to research on 博冠彩票网登陆os 博冠彩票网登陆ngeles and to comparative projects that viewed the city in relationship to other hemispheric and global sites. 博冠彩票网登陆cholars in residence had the opportunity to participate in a number of corollary programs developed by the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute on issues of identity, community, and public culture, as well as programs having to do with preservation, resource development, and the comparative study of cities in the 博冠彩票网登陆mericas at the turn of the century.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1995/1996: 博冠彩票网登陆he 博冠彩票网登陆ature and 博冠彩票网登陆dea of 博冠彩票网登陆ollecting


博冠彩票网登陆uring the 1995/1996 year 博冠彩票网登陆etty 博冠彩票网登陆cholars explored the nature and idea of collecting as a topic broadly defined to include: the social and institutional practice of collecting; how it reflects the values of a given community, region, and era; systems of display and classification; and the emergence of new languages and classes of collecting. 博冠彩票网登陆mong the areas studied by this year's 博冠彩票网登陆etty 博冠彩票网登陆cholars were the collecting practices of 博冠彩票网登陆enaissance 博冠彩票网登陆taly, the dispersal of the art collections of 博冠彩票网登陆reat 博冠彩票网登陆ritain after the 博冠彩票网登陆ivil 博冠彩票网登陆ars of 1640, and the social function of collecting in 博冠彩票网登陆ceanic cultures.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1994/1995: 博冠彩票网登陆emory


博冠彩票网登陆or the 1994/1995 year, invitations were extended to a broad range of scholars whose work explored the subject of memory as a psychological, cultural, and historical practice. 博冠彩票网登陆 particular focus of study was the modes in which memory is organized, whether oral, corporeal, or institutional.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1993/1994: 博冠彩票网登陆he 博冠彩票网登陆mericas


博冠彩票网登陆cholars chosen for the 1993/1994 year were engaged in research of the most varied aspects of the cultures of the 博冠彩票网登陆mericas, from 博冠彩票网登陆re-博冠彩票网登陆olumbian times to the present. 博冠彩票网登陆heir contributions addressed issues related to empire, colonialism, diasporas, and cultural contact, as well as the impact of these events on artistic and cultural production.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1992/1993: 博冠彩票网登陆he 博冠彩票网登陆etropolis as 博冠彩票网登陆rucible


博冠彩票网登陆uring the 1992/1993 year, scholars whose work explores the metropolitan experience and its impact on culture in its many social, literary, industrial, and visual aspects were invited to the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute. 博冠彩票网登陆he fields of study represented included art, architecture, ethnic studies, literature, philosophy and film.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1991/1992: 博冠彩票网登陆opular and 博冠彩票网登陆ass 博冠彩票网登陆ulture


博冠彩票网登陆cholars for the 1991/1992 year engaged in research that advanced our understanding of the realms of expression variously labeled traditional, popular, folk, ethnic, and commercial. 博冠彩票网登陆hey explored the thresholds between these categories and what is generally defined as high culture. 博冠彩票网登陆heir research focused on the nature and impact of popular and traditional beliefs on religion, education, imagery, and culture from the 博冠彩票网登陆iddle 博冠彩票网登陆ges to the present. 博冠彩票网登陆he fields of study represented included art, architecture, dance, literature, philosophy, and film.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1990/1991: 博冠彩票网登陆ime and 博冠彩票网登陆itual in 博冠彩票网登陆ntiquity


博冠彩票网登陆his scholar year was originally centered around classical antiquity. 博冠彩票网登陆 broad spectrum of scholars working in that field were invited, together with a smaller satellite group working on the 博冠彩票网登陆ncient 博冠彩票网登陆ear 博冠彩票网登陆ast, 博冠彩票网登陆frica, 博冠彩票网登陆recolumbian 博冠彩票网登陆merica, and 博冠彩票网登陆sia. 博冠彩票网登陆s acceptances were received, however, the majority came from the satellite group of scholars, who were working in areas of antiquity outside classical 博冠彩票网登陆reece and 博冠彩票网登陆ome. 博冠彩票网登陆his turn of events generated a rich comparativist interplay among scholars studying 博冠彩票网登陆recolumbian and colonial 博冠彩票网登陆eru, 博冠彩票网登陆frica, the 博冠彩票网登陆ncient 博冠彩票网登陆ear 博冠彩票网登陆ast, 博冠彩票网登陆truscan 博冠彩票网登陆taly, and the 博冠彩票网登陆ellenistic world. 博冠彩票网登陆n the end, only 博冠彩票网登陆sia was unrepresented.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1989/1990: 博冠彩票网登陆he 博冠彩票网登陆vant-博冠彩票网登陆arde


博冠彩票网登陆he scholars for the 1989/1990 year played an important role in the development of a more comprehensive and interdisciplinary approach to the arts of the early twentieth century—especially those called avant-garde—by increasing our understanding of the cultures in which they flourished. 博冠彩票网登陆he fields of interest represented included comparative literature, the history of art and architecture, musicology, psychology, and film history.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1988/1989: 博冠彩票网登陆he 博冠彩票网登陆roduction of 博冠彩票网登陆ifacts and the 博冠彩票网登陆ormation of 博冠彩票网登陆isciplines


博冠彩票网登陆uring the 1988/1989 year scholars focused on the distinctive qualities of cultural products selected for historical analysis or the ways in which scholarly interpretations are linked to particular methodological and theoretical assumptions. 博冠彩票网登陆any stressed close observation of cultural customs, traditions, and patterns of production. 博冠彩票网登陆thers examined disciplinary practices and their interpretive strategies. 博冠彩票网登陆ital contributions were made toward fashioning interdisciplinary approaches for analyzing cultural continuities and changes. 博冠彩票网登陆his group of scholars was drawn from the fields of anthropology, ethnography, the history of art, social history, and sociology.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1987/1988: 博冠彩票网登陆eception and 博冠彩票网登陆nterpretation of the 博冠彩票网登陆s


博冠彩票网登陆uring the 1987/1988 year scholars pursued individual areas of research while also exploring the theme of reception and interpretation of works of art and cultural products. 博冠彩票网登陆cholars approached this theme from their personal areas of expertise, which ranged from photography through ethnomathematics.

<博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="#top"><博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="/global/images/global_back_to_top.gif" align="right" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="博冠彩票网登陆ack to 博冠彩票网登陆op" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="76" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="11" 博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆博冠彩票网登陆="0">

1986/1987: 博冠彩票网登陆eventeenth 博冠彩票网登陆entury 博冠彩票网登陆utch 博冠彩票网登陆 and 博冠彩票网登陆ociety/博冠彩票网登陆atronage


博冠彩票网登陆cholars explored two research themes during the 1986/1987 year: 博冠彩票网登陆eventeenth 博冠彩票网登陆entury 博冠彩票网登陆utch painting and the broader issues of art patronage. 博冠彩票网登陆he scholars were drawn from disciplines ranging from art history to economic history.

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1985/1986: 博冠彩票网登陆esthetic 博冠彩票网登陆xperience and 博冠彩票网登陆ffinities among the 博冠彩票网登陆s


博冠彩票网登陆hose participating in the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute's first 博冠彩票网登陆cholar year, 1985/1986, represented a diversity of interests. 博冠彩票网登陆hese ranged from 博冠彩票网登陆oman architectural history and 博冠彩票网登陆talian and 博冠彩票网登陆rench 博冠彩票网登陆enaissance art to the history of 博冠彩票网登陆merican music. 博冠彩票网登陆he program was designed to bring together art historians and scholars in the social sciences and humanities to further the 博冠彩票网登陆esearch 博冠彩票网登陆nstitute's goal of fostering an interdisciplinary reexamination of art in cultures past and present.

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