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

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

Jegeren: En fortelling fra skogen (2015) av Per Dybvig er ei bildebok og kunstbok som viser gnager-lignende dyr med overraskende utvekster på kroppen. Grotesk estetikk og ulike typer hybriditet er gjennomgående i verket, samt bildekomponenter som innbyr til leting etter figurative former. Dybvigs groteske skogsscenarier kan tolkes som en kunstnerisk påminnelse om farene ved å manipulere det naturlige og om vår usikre framtid.

This is a review of the "Arabeska i Tyul'pan: Arabo-Osmanskiy mir v religioznoy i kul'turnoy dynamice" (Romanovich & Viktorovich, 2021) edited book prepared by Krayushkin Nikita Romanovich and Orlov Vladimir Viktorovich, researchers of the Institute of Oriental Studies of the Russian Academy of Sciences. This monograph is a comprehensive study of the Arab-Ottoman world focusing on three common themes (socio-economic development, military-political developments, and groups of Islamic thought. The book covers the geography from Morocco to Anatolia between the 16th and 20th centuries. It offers a wide panorama of the cultural and religious differences between lifetimes. Some of the themes of the book discuss the difficulties of self-perception at the end of the Middle East and North Africa; the economic basis of the development of the Arab provinces; the daily social practices of the provincial elite; the hidden and overt elements of the harem and court; the relationship between the metropolis and the city; the peripheral political traditions; the reform efforts and the results of the revolutions; the symbolism of Islamic architecture; and Islamic demonology. The authors benefited from a wide variety of sources and took into account new studies of Ottoman and Arab historians. It has a wide readership, addressing orientalists, university teachers and students and Islamic experts. This is an edited volume of papers presented in the XV. Arabists' Conference I titled "Readings by M. Smilyanskaya" (This conference was held in Moscow from November 30 to December 25, 2020). [ABSTRACT FROM AUTHOR]

Copyright of Journal of Humanities & Social Sciences (2522-3380) is the property of Arab Journal of Sciences & Research Publishing (AJSRP) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract of the research: Arabesque is the language of Islamic art, as human images have been described as the language of European art, and you will not be able to understand this language nor taste its artistic beauty until you understand the significance behind this idea. The Muslim artist has learned from the Holy Qur’an (whoever is on it, and the face of your Lord remains Majesty and Honor) (1) and the arabesque is the intertwining of linear, vegetal and geometric motifs with a thoughtful distribution and a fluid movement with a balance in space, line and color in harmony. The arabesque is distinguished by the system of movements expressing a desire to fill the entire surface with decoration due to the nature of the Muslim artist in hatred The void, except that he made the decorations completely modified on nature, not interested in emulating God’s creation, but only creating human beauty on the surrounding space, and although the arabesque was dominated by the characteristics of Islamic art, it spread and reached most European countries to the extent of the European artist’s admiration for it, which prompted the researcher To make a comprehensive study to know the art of arabesque, its types, its beginning, the crossings of its move to Europe and its impact on the European artist and European arts, with the presentation of pictures - some of which are published for the first time - indicating its spread in Europe and the interest of European artists in this decoration Much despite the difference in the aesthetic concepts of this art in the European world from the Muslims, but it was met with great demand from European artists with designs similar to the designs of the Muslim artist, where he found his desired condition for decorating the walls of churches and monasteries in Europe and the manufacturers transferring Arabic letters and imitating them without knowing their meaning .__________(1) Marzouq, Muhammad Abdulaziz, Islamic Art, Its History and Characteristics, Baghdad, Asaad Press 1965, p. 181; Surat Al-Rahman, Verse 26

Islamic floral patterns warrant further research and analysis as they are an important aspect of the cultural heritage of Islamic patterns. These floral patterns are aesthetically inspired by flowers, leaves, vines, and stems and feature characteristics such as symmetry, interlacing, and pattern repetition. This study analysed a five-pointed rose pattern (peony flower) and its elements, such as the curved lines that make up the leaves and flowers. A new floral pattern featuring a botanical motif and curved lines was designed and distributed using kite and dart tiling. The floral pattern was designed using the pentagram reflection of the Penrose tiling method to suit modern design requirements of looking like a Shamsah. The results of the floral ornament and newly designed patterns were then reviewed in order to facilitate the generation of new patterns accurately and quickly through computer design software. Thus, the problem of time and effort in designing Islamic floral patterns was solved. This study also provides suggestions for future studies on Islamic floral patterns.

The study, while looking at the historical as well as cultural significance of mosque interiors in the Islamic world examines the surface decoration in Maryam Zamani Mosque. It also focuses on several socio-political underpinnings that define Mughal and Islamic aesthetic thrusts in Pre-Modern India. It addresses some well-established figments about the status of representational iconography in Islamic Art and compares the concept of aniconism in various indigenous traditions. ‘Non-figural’ as a scheme of ornamentation mediate the divine presence for the believers but it also effectively stimulates the senses towards the unconfined realities that spiritually elevates the viewer who may be the followers of other systems of faith. In its broader scope, it is a study of change of decorative features of religious buildings in Medieval India from figurative to abstract, from earthly to spiritual or from ordinary to ideal with an inclination towards both; the production and reception of these creative practices. In addition to the conventional historiographic methods of research, ethnographic approach is employed to achieve the paradigm of socially-engaged art history for the global audience. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Background: Low back pain is a common disorder with high severity among dancers. Since Arabesque used in dance is more likely to cause lower back pain, it is important to prevent the onset of lower back pain during arabesque. Previous studies are investigating motion of the lumbar vertebrae during various tasks in targeting dancers. However, since the thoracic and lumbar vertebrae are connected, it is necessary to assess including motion of the thoracic spine. The purpose of this study was to clarify the relationship between the upper, middle, and lower thoracic vertebrae and the upper and lower lumbar vertebrae in dancers during arabesque. Methods: The participants were 13 university students with dance experience, and they performed double-standing and arabesque tasks. During the tasks, the positions of reflective markers attached to the spine (upper, middle, and lower thoracic vertebrae, and upper and lower lumbar vertebrae) were measured using a three-dimensional motion analysis system. The amount of change in the spinal angle of during standing and arabesque were calculated based on positions of spinal markers, and the relationship between the amount of change each spinal region (6 pairs) were analyzed by using Pearson's correlation test. Results: A significant negative correlation was observed between the amount of change in the angle of the middle thoracic vertebrae and the amount of change in the upper lumbar vertebrae ( r  = -.66, P  = .013), which means that as the movement of the middle thoracic vertebrae increases, the movement of the upper lumbar vertebrae decreases. No significant correlation was observed between other spinal angles ( P  > .05). Conclusion: The results of this study suggest that increasing mobility in the middle thoracic vertebrae may be able to prevent hyperextension of the upper lumbar vertebrae, leading to the prevention of upper back pain in dancers., Competing Interests: Declaration of Conflicting InterestsThe author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.

Taking the arabesque as referent, the article proposes to investigate its meaning in its various meanings, starting with the musical and then continuing with the artistic and literary, in order to highlight how, especially in the literary sphere, Souriau proposes, through this figure, to examine the conditions of possibility of the interweaving of phonetic, semantic and morphological inventions that sustantiate language, but that nevertheless can never reach the threshold of saying. And which indeed seems to testify to how there is always something that remains hidden in language: an intuitive presence, an image that arrives suddenly.

Taking the arabesque as referent, the article proposes to investigate its meaning in its various meanings, starting with the musical and then continuing with the artistic and literary, in order to highlight how, especially in the literary sphere, Souriau proposes, through this figure, to examine the conditions of possibility of the interweaving of phonetic, semantic and morphological inventions that sustantiate language, but that nevertheless can never reach the threshold of saying. And which indeed seems to testify to how there is always something that remains hidden in language: an intuitive presence, an image that arrives suddenly. [ABSTRACT FROM AUTHOR]

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

Background: The spinal biomechanics of dance tasks have received little study and no studies have used a multi-segmented spinal model. Knowledge of how the segments of the spine move may be useful to the dance clinician and dance educator.Research Question: What is the direction and amount of motion of the primary segments of the spine in elite dancers during an arabesque and a passé?Methods: This observational study examined 59 elite dancers performing an arabesque and a passé using a three-dimensional motion analysis system with the trunk divided into a series of five segments: pelvis, lower lumbar, upper lumbar, lower thoracic and upper thoracic spine.Results: For the arabesque, all spinal segments moved in the same direction within each plane and the majority of total spinal motion occurred in the thoracic spine. Thoracic segments were at or near end range position at completion of the arabesque. For the passé, the spinal segments moved in different directions within each plane and the majority of total spinal motion occurred in the lumbar spine.Significance: Dance clinicians and dance educators may benefit from the knowledge that thoracic hypomobility in any plane may limit arabesque performance and that attempts to instruct dancers to achieve a position of passé without flexion of the lumbar spine may be a valid aesthetic ideal but also an unrealistic functional expectation. [ABSTRACT FROM AUTHOR]

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

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

We start by coupling negative 2-circuits, which are characteristic of the presence of a regulation loop in a dynamical system. This loop can be modelled with coupled differential equations represented in a first approach by a conservative differential system. Then, an example of regulation loop with a dissipative component will be given in human physiology by the vegetative system regulating the cardio-respiratory rhythms. [ABSTRACT FROM AUTHOR]

Classical architectural decorative technique such as mosaic work has been practiced in all over the world. Buildings are carefully designed to reflect the character and tradition of the region. In present research an attempt has been made to explain the significance of tile mosaic work with traditional motives and stylized conceptual representation in contemporary mosques of Punjab, Pakistan. The mosques present traditional and modern phase of decoration in Pakistan with aesthetic values. The study explains geometrical designs and stylized symbolic interpretation through the tile work of contemporary mosques of Pakistan. Conceptual, symbolic and abstract representation of mosaic work of Faisal Mosque Islamabad, arabesque and islimi designs of Ali Hajvery Data Darbar Mosque Lahore, geometrical designs and their significance in Jami„ Mosque Defence Lahore, Bahria Town Mosque and Masjid al-Habib Lahore Cantt, are the major areas covered in the paper. [ABSTRACT FROM AUTHOR]

The aim of this study is to examine different possible meanings of the expression “Watteau’s monkeys”. In its literal sense, it leads us to those works of the artist which represent monkeys: to the arabesque entitled The Monkeys of Mars, to the engraving called Amour mal accompagné and to his two paintings in which monkey artists can be found. In a more abstract and theoretical sense, this expression is related – in a pejorative way – to artistic imitation: it may refer to Watteau’s epigones, who made an attempt to create fête galante paintings in the manner of the artist. These two meanings intertwine in the symbolism traditionally attached to the figure of the monkey, the animal which has a reputation for being an excellent imitator, as the proverb ars simia naturae puts it, art is the monkey of nature.

Islamic architecture is rich in decorative patterns. Mosques were constructed in the past as simple buildings for offering prayers five times a day. However, in subsequent periods, various features of ornamentation in the form of geometry and arabesque were applied to the surfaces of mosques to portray paradise symbolically. This research applied descriptive approaches to examine the surviving patterns of the Aga-Khan-awarded Bhong Mosque and categorized these patterns as geometric and arabesque. This categorization was achieved by photography, use of software for patterns, and conducting interviews with local elderly persons in the region. The geometric patterns were simple 6- and 8-point star patterns. Several of the earliest examples of rosette petals exhibited 8- and 10-point star patterns and were categorized by incorporating the geometric style and location of mosques. This research investigated different arabesque categories and inscription types and determined the aesthetic and cultural reasons for their placement on various surfaces. Frescoes had different types of flowers, fruits, and leaves, and a few of them belonged to the local region. [ABSTRACT FROM AUTHOR]

The aim of this study is to examine different possible meanings of the expression "Watteau's monkeys". In its literal sense, it leads us to those works of the artist which represent monkeys: to the arabesque entitled The Monkeys of Mars, to the engraving called Amour mal accompagné and to his two paintings in which monkey artists can be found. In a more abstract and theoretical sense, this expression is related -- in a pejorative way -- to artistic imitation: it may refer to Watteau's epigones, who made an attempt to create fête galante paintings in the manner of the artist. These two meanings intertwine in the symbolism traditionally attached to the figure of the monkey, the animal which has a reputation for being an excellent imitator, as the proverb ars simia naturae puts it, art is the monkey of nature. [ABSTRACT FROM AUTHOR]

Frances S. Connelly’s The Grotesque in Western Art and Culture: The Image at Play is an exciting new book that ruptures art-historical conventions as much as does her subject, the grotesque. The generally chronological approach examines four interwoven strands: improvisation, subversion, trauma, and revelation in successive chapters. Although Horace’s classical injunction against the grotesque is a touchstone, the book surveys relevant art principally from the fifteenth-century, when the grottesche at Nero’s Domus Aurea in Rome were discovered, to the twentieth. This review provides an overall assessment of the book and enumerates each chapter’s contents.

In this paper, the author examines the script forms and ornaments of five works by the Hungarian calligrapher, George Bocskay (?1575), which have so far eluded researchers' attention. All are manuscript charters on parchment, issued in Vienna in the second half of the sixteenth century by Habsburg rulers (some in their capacity as kings of Hungary), and all are of extremely high quality, decorated with elaborate calligraphy. Justification for presenting them together derives from their similar format: they are not conventional, single folio charters, but were all produced in booklet form. Since these manuscripts were closely connected with George Bocskay's time as an official at the Viennese Court, the paper provides an overview of the different stages of his career there, based primarily on recently unearthed archive sources. For thirty years Bocskay worked at - and was promoted through the ranks of - the Hungarian Court Chancellery, which was the official government body within the composite state of the Habsburg Monarchy with responsibility for issuing charters pertaining to the Kingdom of Hungary. Among the official documents issued here by the Habsburg rulers, in their capacity as kings of Hungary, the most important from an art historical aspect are the letters patent issued to members of the Hungarian nobility, which featured a miniature of the granted coat of arms and usually also calligraphic decoration. Based on the author's latest research, several examples of such decoration can now be attributed to the calligrapher, whose activity even led to the creation of a calligraphic school within the Chancellery. This paper presents three previously unknown manuscripts, namely the letters patent issued to Márk Horváth-Stanchich (1558), János Pethő de Gerse (III) (1572), and János Liszthy (1573); the identity of the master who made the miniatures on the two latter documents is also suggested (Donat Hübschmann). Furthermore, the paper provides clarification of the reading of a Bocskay signature found on a letters patent (grant of barony) issued to Miklós Oláh (1558-60), already described in the literature as a work by the calligrapher. Also on the basis of relevant archive sources, the author goes on to opine that, in addition to his official positions at the Chancellery, Bocskay also served in another role within the Viennese Court, which can best be defined as "calligrapher to the ruler." It was for such services that Ferdinand I of Habsburg, in his capacity as Hungarian king, also bestowed upon him the nominal title of royal courtier (in Latin: aulae regiae familiaris / aulicus). In the author's opinion, the artist, as "calligrapher to the ruler," was also given the commission to decorate two further important charters, also discussed in this paper, both ratifying royal marriages between Habsburg archduchesses and Italian noble houses. Issued in Vienna in 1565 by Emperor Maximilian II of Habsburg and Archdukes Ferdinand and Charles, one charter ratified the marriage between Archduchess Barbara and Alfonso II d'Este, while the other ratified the marriage between Archduchess Joanna and Francesco Medici. [ABSTRACT FROM AUTHOR]

In the article originality of the literary playing is examined prose of О.Памука, that develops traditional aesthetics of art of allegory and interpretation for the analysis of ideas of contemporaneity in the renewed kind. Principles of the literary playing are compared the novels of О. Памука (sufi metaphorical, arabesques, allegories, code poetics, idea of game of the world as secret spiritual treasure of and other) and T. Tolstoy (slapstick, clownery, madness), what a variety allows to reduce modern post-modern novel-game, based on likeness and distinctions of literary-national aesthetics and traditions. [ABSTRACT FROM AUTHOR]

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

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

In this paper, the author examines the script forms and ornaments of five works by the Hungarian calligrapher, George Bocskay (†1575), which have so far eluded researchers’ attention. All are manuscript charters on parchment, issued in Vienna in the second half of the sixteenth century by Habsburg rulers (some in their capacity as kings of Hungary), and all are of extremely high quality, decorated with elaborate calligraphy. Justification for presenting them together derives from their similar format: they are not conventional, single folio charters, but were all produced in booklet form. Since these manuscripts were closely connected with George Bocskay’s time as an official at the Viennese Court, the paper provides an overview of the different stages of his career there, based primarily on recently unearthed archive sources. For thirty years Bocskay worked at - and was promoted through the ranks of - the Hungarian Court Chancellery, which was the official government body within the composite state of the Habsburg Monarchy with responsibility for issuing charters pertaining to the Kingdom of Hungary. Among the official documents issued here by the Habsburg rulers, in their capacity as kings of Hungary, the most important from an art historical aspect are the letters patent issued to members of the Hungarian nobility, which featured a miniature of the granted coat of arms and usually also calligraphic decoration. Based on the author’s latest research, several examples of such decoration can now be attributed to the calligrapher, whose activity even led to the creation of a calligraphic school within the Chancellery. This paper presents three previously unknown manuscripts, namely the letters patent issued to Márk Horváth-Stanchich (1558), János Pediő de Gerse (III) (1572), and János Liszthy (1573); the identity of the master who made the miniatures on the two latter documents is also suggested (Donat Hübschmann). Furthermore, the paper provides clarification of the reading of a Bocskay signature found on a letters patent (grant of barony) issued to Miklos Oláh (1558-60), already described in the literature as a work by the calligrapher. Also on the basis of relevant archive sources, the author goes on to opine that, in addition to his official positions at the Chancellery, Bocskay also served in another role within the Viennese Court, which can best be defined as “calligrapher to the ruler.” It was for such services that Ferdinand I of Habsburg, in his capacity as I Hungarian king, also bestowed upon him the nominal tide of royal courtier (in Latin: aulae regiac familiaris / aulicus). In the author’s opinion, the artist, as “calligrapher to the rider,” was also given the commission to decorate two further important charters, also discussed in this paper, both ratifying royal marriages between Habsburg archduchesses and Italian noble houses. Issued in Vienna in 1565 by Emperor Maximilian II of Habsburg and Archdukes Ferdinand and Charles, one charter ratified the marriage between Archduchess Barbara and Alfonso II d’Este, while the other ratified the marriage between Archduchess Joanna and Francesco Medici. [ABSTRACT FROM AUTHOR]

This article treats John Steinbeck's cycle of stories The Pastures of Heaven as a novel, due to its close-fitting temporal, spatial and thematic structure, attempting to read into it a number of narrative techniques that best fall under the heading of stylistic concepts. One of the narrative modes that obsessively permeates the rest of Steinbeck's fiction as well and which may be called an acute sense of showing or--as one critic prefers--arabesque, possibly comes to him from cinematography and is counterbalanced by the overall ironic tone of the epic to achieve fictional symmetry. The narrative material is investigated for instances ranging from benevolent irony or parodic depiction to mythical or even grim irony, all infused with the humor of hearsay dissemination techniques. Some sources of irony are identified and a discussion of the rare passages when irony is dropped harmonizes the commentary. [ABSTRACT FROM AUTHOR]

A proficient serve is critical to successful tennis performance, and consequently coaches and players devote considerable time refining this stroke. In so doing, a wide variety of interventions are used or trialled, generally with very little empirical support. This study examined the efficacy of a commonly used service intervention, where players focus on exaggerating their finish (arabesque) position to promote specific changes in lower limb and trunk kinematics. The kinematics of eight high-performance junior players hitting flat serves were compared to the acute changes in kinematics elicited by the arabesque follow through position on serves using a 10-camera VICON MX motion analysis system. The significantly greater front (landing leg) hip flexion (p < 0.05) and forward trunk flexion (p < 0.05) confirmed the more exaggerated arabesque landing position following the arabesque instruction. The arabesque instruction resulted in increased frontal plane trunk range of motion and peak angular velocity in the forward swing, and increased leg drive during the drive phase. Practically, the results support the use of the arabesque instruction, effectively promoting the desired acute changes in trunk kinematics (i.e. increased frontal plane trunk rotation angular velocity) and leg drive (i.e. increased back knee extension angular velocity and front/back vertical hip velocity). [ABSTRACT FROM PUBLISHER]

In his writing, the Mexican author Alberto Ruy Sánchez explores various forms of erotic desire. His novels are primarily situated in the exotic environment of the Moroccan town of Mogador. As they clearly contain many motives pertinent to a romantic vision of the Orient, they may be considered – for better or worse – a continuation of the Orientalist literary tradition. What makes Sanchez' novels stand out, however, is the way in which the author's narration approximates a concrete expression of Islamic decorative art and architecture, making him an excellent "artisan of the word" and subsequently allowing particular elements of the Arabic literary tradition to resonate throughout his work.