bluuebunny/crossref_metadata_2025_split huggingface dataset:
Validación de un instrumento de medición de actividad física y propuesta de percentiles para su valoración en jóvenes universitarios
Authors: Fuentes López José , Canqui Flores Bernabé , Mendoza Mollocondo Charles Ignacio , Torres Cruz Fred , Viveros Flores Antonio , Lipa Marcos , Gomez Campos Rossana , Cossio-Bolaños Marco 
Published: January 2020

Introducción: El objetivo del presente trabajo fue: a) validar el cuestionario que mide actividad física mediante análisis confirmatorio; b) analizar la fiabilidad por medio de medidas de estabilidad; y c) desarrollar percentiles por rango de edad y sexo.Material y métodos: Se efectuó un estudio de tipo descriptivo de corte transversal en 1.937 jóvenes universitarios (1.064 hombres y 873 mujeres) de la ciudad de Puno, Perú. Se midió el peso y estatura y se calculó el índice de Masa Corporal (IMC) por sexo. Se aplicó un cuestionario de 11 preguntas que mide actividad física. Se validó por Análisis Factorial Confirmatorio (AFC) y se verificó la confiabilidad por test re-test. Se generó percentiles por rango de edad y sexo para los patrones de actividad física por el método LMS.Resultados: Para el AFC se observó saturaciones entre 0,41 a 0,96, valores propios superiores a 1,0, el porcentaje de explicación de la varianza fue de 63,9% (Varimax y Kaiser-Meier-Olkin, KMO= 0,872. Esfericidad de X2= 4999,5, p<0,0000). La fiabilidad por test re-test mostró un Error Técnico de Medida (ETM) de 2,48 a 3,68% y un coeficiente de correlación intra-clase (CCI) entre 0,65 para hombres y 0,654 para mujeres y para ambos sexos CCI= 0,92.Conclusión: El cuestionario de 11 preguntas que mide actividad física es válido y confiable para jóvenes universitarios de una región de elevada altitud del Perú. Además, los percentiles propuestos sirven para identificar y clasificar los niveles de actividad física según rango de edad y sexo.
Hubungan N-Total dan C-Organik Sedimen Dengan Makrozoobentos di Perairan Pulau Payung, Banyuasin, Sumatera Selatan
Authors: Barus Beta Susanto , Aryawati Riris , Putri Wike Ayu Eka , Nurjuliasti Ellis , Diansyah Gusti , Sitorus Elyakim 
Published: January 2020

The quality of water was seen from the macrozoobenthos community analysis that lives in it. The purpose of this research is to know the relation N-total and C-organic in sediment with macrozoobenthos in Payung Island of Banyuasin Regency. This research uses purposive sampling method. Sampling and macrozoobenthic samples using Ekman grab. The types of macrozoobenthos found to consist of Bivalvia class (Nassarius distortus, Abra Soyae), Gastropoda (Septaria linatea, Epitonium pallasi), Polychaeta (Nereis sp) and Oligochaeta (Lumbriculus sp). The dominant macrozoobenthos composition is Nereis sp. The C-organic content in the waters sediments of Payung Island ranged from 10.52 to 17.92% (moderate to high criteria) and N-total ranged from 0.61 to 1.14% (high and very high criteria), C/N ratio ranged from 10 to 29. This indicates that sediment of Payung Island had undergone balance mineralization process and immobilization. The results of linear regression analysis show that C-organic and N-total have a positive relationship with the abundance of macrozoobenthos Kualitas suatu perairan dapat dilihat dari analisa komunitas makrozoobentos yang hidup di dalamnya. Tujuan penelitian ini adalah mengetahui hubungan antara kandungan N-total dan C-organik sedimen dengan makrozoobentos di Perairan Pulau Payung. Metodologi penelitian meliputi; pengambilan data parameter fisika kimia (suhu, salinitas, pH, dan DO). Pengambilan sampel sedimen dan makrozoobentos menggunakan ekman grab. Hasil dari penelitian ini, Jenis makrozoobentos yang ditemukan terdiri atas kelas Bivalvia (Nassarius distortus, Abra Soyae), Gastropoda (Septaria linatea, Epitonium pallasi), Polychaeta (Nereis sp) dan Oligochaeta (Lumbriculus sp). Komposisi makrozoobentos yang mendominasi yakni Nereis sp. Kandungan C-organik di sedimen perairan Pulau Payung berkisar 10,52-17,92% (kriteria sedang sampai tinggi) untuk N-total berkisar antara 0,61-1,14% (kategori tinggi dan sangat tinggi), sedangkan C/N rasio berkisar antara 10-29. Hal ini menunjukkan sedimen Pulau Payung telah mengalami proses mineralisasi dan imobilisasi seimbang. Hasil analisis regresi linear menunjukkan C-organik dan N-total memiliki hubungan yang positif dengan kelimpahan makrozoobenthos.
Caravaggios Medusenschild von 1597 – ein Gorgoneion?
Authors: Hager Constanze 
Published: January 2020

Abstract
Caravaggio’s emblematic Medusa is mostly regarded as a representation of the mirrored decapitation of the Gorgon and thus as a reflection on Perseus’ protective shield. This essay proposes a new interpretation: Caravaggio’s Medusa is an adaptation of the antique Gorgoneion. The Gorgoneion historically depicted Medusa’s head with its petrifying gaze, which was placed on the shield of Athena. Due to its symbolic and protective power, the Gorgoneion became a frequent subject in art and handicraft well into Baroque art. Caravaggio’s contemporaries – including the poets Gaspare Murtola and Giambattista Marino – left witness that they interpreted the image as a Gorgoneion. In addition, the image itself contains elements that buttress this interpretation, including, inter alia, the green surface of the shield and the shadow. Both the historic accounts and the painted details therefore render an interpretation of the painting as Gorgoneion very likely.
Joseph christophore dans la Fuite en Egypte: transmission d’un schéma iconographique spécifique à travers le Moyen Age
Authors: Aliferis Laurence Terrier 
Published: January 2020

Abstract
In the vast majority of representations of the Flight into Egypt, the child is huddled upon the Virgin’s lap or held in her arms. In addition to this traditional model, some interpretations of the Flight into Egypt show the child riding on Joseph’s shoulders or being held in his arms. The inventory of the representation of Joseph christophore from the fifth century to the mid-fifteenth century in Latin and Greek Christendom provides an insight into the frequency of this iconographic specificity of the Flight into Egypt, its diffusion and regional adaptations, as well as its meanings, via theological and exegetical texts.
The Creation of the World by Virgil Solis
Authors: Chernetsky Irina 
Published: January 2020

Abstract
Virgil Solis (1514 – 1562), a prosperous artist and printmaker from Nuremberg, dedicated his final major work to an illustration of Ovid’s Metamorphoses. Although the designs of most of the woodcuts for this first extensive German series were borrowed from the Metamorphoses series of the French artist Bernard Salomon (c. 1508 – 1561), a closer study reveals several notable differences in the details of individual scenes, among them The Creation of the World. Placing Solis’ work within the tradition of the printed illustrated editions of Ovid’s magnum opus, which had by then crystallized mainly in Italy and France, the article argues that Solis’ illustration drew not only on the earlier Metamorphoses, but also on printed German Bibles, following the parallels taken up at the time between the Creation story in the Metamorphoses and the Creation story in Genesis.
Art Is Still Not Enough. Bilder von AIDS im Spannungsfeld zwischen Kunstanspruch und politischer Mobilisierung
Authors: Junge Sophie 
Published: January 2020

Abstract
The paper examines the reception of HIV/AIDS-related artworks from the 1980s by comparing four New York exhibitions from the early 1990s and 2010s. It argues that to this day artworks dealing with AIDS are bound to political and moral demands of former activists from the AIDS movement in New York. This politicization of historical images of AIDS is striking since the disease has lost its fatal threat in Western countries and political constellations have changed. Yet current exhibitions focus only on activist, politically motivated responses to the epidemic in order to represent an “appropriate” remembrance of AIDS. Thirty years after the climax of the epidemic, images of AIDS are currently integrated in the canon of art history, while they are continuously claiming their political efficacy.
The Danish Fate of Two German Collections Pieces of the Baron von Häckel and C. L. von Hagedorn Collections Rediscovered
Authors: Svenningsen Jesper 
Published: January 2020

Abstract
The article aims to cast new light on two important collections of paintings in eighteenth-century Germany and how they ended up (complete or in part) in Danish ownership. The fate of the Hagedorn collection is well studied, yet extremely few pieces of the collection have so far been identified in modern collections. Two such paintings – both of them among Hagedorn’s favorite pictures – are published here. The 1763 sale of the collection formed by Baron von Häckel is equally well known, though it has escaped everyone’s attention that a further 75 paintings were separated from the rest and presented to the Danish king. About half of these pictures can still be found in the Statens Museum for Kunst in Copenhagen.
Eingehüllt in Gold und Bein – Die techné des Chryselephantin als ›Mitstreit‹ im Mittelalter
Authors: Trinks Stefan 
Published: January 2020

Abstract
Gold and ivory were considered to be among the most valuable materials in the Middle Ages. Whereas ivory would represent skin or bone tissue, gold could simultaneously signify and disguise the presence of God. Their iconology is tied to the objects they are attached with, heightening their value. What has not been studied in great depth so far, however, is the range of combinations and the nature of the relationship of both combined as “chryselephantine” in the antique manner. In examples of mostly Carolingian and Ottonian front covers and reliquaries made from gold and ivory between the ninth and eleventh centuries, it is evident that both were treated as equally valuable and that their combination results not in a paragone but a synagon, or aesthetic comradeship.
“Must the Arts Suffer from the Progress of Reason?” Four Slave Statues, the 1790 Place des Victoires Debate, and the Urban Monument in Early Revolutionary France
Authors: Kraege Desmond 
Published: January 2020

Abstract
In June 1790, the Assemblée nationale decided that the statues of slaves surrounding the monument to Louis XIV on the Place des Victoires were offensive to the inhabitants of some French provinces, and should be removed. This triggered a wide-ranging debate in the Parisian press, with calls for the conservation of the monument or for the use of the statues in a new setting. The discussion dealt with the monument’s iconography, but also with its aesthetic and historical significance, and reflected wider debates on slavery and on the (un)popularity of the monarchy. The article analyses these arguments, points out the importance of public monuments in Parisians’ relation to their city, and shows how the removal of these statues was part of a climate of construction, rather than destruction.
Aneignung und ›Neuinszenierung‹ von Evangeliaren in institutionellem und liturgischem Gebrauch – drei Fallbeispiele
Authors: Oltrogge Doris 
Published: January 2020

Abstract
The paper presents three case studies of ancient Gospel Books which were reworked and adapted to changing liturgical and monastic practices. The reasons for the choice of a specific older manuscript are discussed, which could be the real or presumed connection with the foundation, but also the archaic character of the script. The methods of reworking include visual signs like bookmarks, nota bene signs, or display scripts to emphasize lecture texts. Whereas these revisions concentrate on the Gospel Book as a textbook, in another case the transformations focus on the whole manuscript as an object. The introduction of miniatures, purple pages, and gold script combined modern elements with allusions to ancient practices to create a tradition of ancient fundatio.
Vom Ambo zum Retabel – Das Klosterneuburger Goldschmiedewerk von Nikolaus von Verdun
Authors: Schlie Heike 
Published: January 2020

Abstract
The only signed work by Nicholas of Verdun, the metalwork which adorned the former ambo in the Klosterneuburg Monastery, was integrated into a foldable altarpiece around 1330 and thus transformed into a new medium. Besides being reframed, it was combined with new monumental paintings on the rear side of the triptych. It was not only handled differently and defined spatially in completely different terms, but the precious enamel- and metalwork could be hidden from sight by closing the wings. The added plates of metalwork at the center of the middle panel break up the hieratical and Eucharistic program of the original work, focusing the program on devotional affects. The metalwork and paintings form a sophisticated iconic reference system, pointing to the provost Stephan of Sierndorf, who had ordered the reframing. His painted figure, kneeling before the crucified Christ, reveals itself not only as the image of the donor, but also as the ideal beholder of the work or a further exemplum of perfect piety.
Evasion temporelle et fantaisie créatrice : usage des peintures du XVIIIe siècle dans les fictions romantiques
Authors: Thomas-Ripault Catherine 
Published: January 2020

Abstract
After 1830, many Romantic authors, inspired by the delicate and poetic paintings of the eighteenth century, endeavored to recreate their mood in novels or short stories. Through those pictorial representations, they imagined a blithe, refined, and dreamlike world, tinged with melancholy, allowing them to forget their own colorless time and express a degree of nostalgia for a bygone age. In the style of Rococo painters, however, Romantics also emphasized imperfection and weakness, gently mocking the ornate and frivolous forms the eighteenth-century artists played with. From their perspective, Rococo art therefore remained in an inferior position within the artistic hierarchy. Its singular forms, however, echoed their own quest for fancy and originality, and ultimately enabled them to depart from earlier Romanticism.
Vor- und Nachgeschichte Bild und Zeit bei Walter Benjamin
Authors: Zumbusch Cornelia 
Published: January 2020

Abstract
Benjamin’s approach to the history of the nineteenth century as a prehistory (Vorgeschichte) of modernity relies on his concept of the dialectical image. Starting from Benjamin’s interpretation of Proust’s narrative endeavor as the evocation of images that have not been seen before, this essay tries to situate Benjamin’s dialektisches Bild in new contexts. Examining Benjamin’s interest in Goethe’s Urphänomen as well as implicit references to Lessing’s concept of fruchtbarer Augenblick or Cassirer’s idea of symbolische Prägnanz, this essay stresses not so much the important but often considered aspects of discontinuity and destruction of chronological time, but tries to trace a hidden agenda: the affinity of Benjamin’s dialectical image to genetic processes.
Feeling and Form in Mark Bradford’s American Pavilion
Authors: Gogarty Larne Abse 
Published: January 2020

Abstract
Mark Bradford describes his practice as “social abstraction”, defined as “abstract art with a social or political context clinging to the edges”. The article addresses Bradford’s exhibition Tomorrow is Another Day at the American Pavilion at the 2017 Venice Biennale and considers the artist’s claim through the critical reception of his work alongside central debates within the history of modernism. It then explores how dispossession and racialization can be figured in relation to modernist myths such as the grid. Finally, in addressing the “social” in Bradford’s practice, the study questions the collaboration Bradford embarked on with Rio Terà dei Pensieri, an organisation supporting the reintegration of prisoners and people under criminal judgment in Venice, arguing that the reformism of that project cuts against Bradford’s use of myth as a mode of resistance.
Für eine meta-ethische Wende. Anmerkungen zur neueren Verantwortungsästhetik
Authors: Holert Tom 
Published: January 2020

Abstract
Dating back to the early 2000s, a much discussed ‘ethical turn’ of the discourse of contemporary art has affected (and continues to infect) the entire field, from art practice, to curating, to criticism, to education, to the business of art. This turn – which arguably resumes one of the steadfast dialectical features of modernism as such – has caused deep schisms between defenders of art’s autonomy and those who see art as increasingly obliged to engage in moral, social, and political issues – due to claimed urgencies of the contemporary condition. The essay ponders various conceptual and philosophical underpinnings of this ethical conjuncture and makes a plea for an aesthetics of responsibility in opposition to the neoliberal responsibilization palpable in contemporary art and culture.
Reworking Effectiveness: Art as a Politic of Redistribution – Some Remarks from a Polish Perspective
Authors: Załuski Tomasz 
Published: January 2020

Abstract
This article critically reworks the issue of the social impact of art in terms of its ‘effectiveness’. The study shows art’s general economy by taking into account a number of ambivalences, difficulties, and deficiencies related to art activities that turn towards the social, political, economic, and cultural exterior of the field of artistic production. Finally, it tries to mount a careful, complex, and balanced defense of their potentials. Reframing and grounding the discussion on artistic activism in selected concepts from political theory, the author argues that if artistic practices are to be socially effective, art needs to be understood and practiced as a politic of redistribution. A way of practicing such a politic is to be sought in understanding and performing action as susceptible to interception. This entails responsibility for the usage of an action, for co-actions that accompany it, and for potential alliances with intercepting subjects.
Anomaly and Autonomy: On the Currency of the Exception in the Value Relations of Contemporary Art
Authors: Vishmidt Marina 
Published: January 2020

Abstract
This essay is concerned with tracing the political dimensions of the ‘anomaly’ – in a period when the structuring conditions that the term refers to emerge rather as the ‘new normal’, even as historical continuities come to light and reveal that little is altogether new. We can see this in debates on whether contemporary art is exceptional or exemplary in a political economy characterised by the precarity of labour and life amidst relentless commodification. In this light, the article attends to the epistemic ‘economies’ of the rule and the exception, in order to foreground debates over value production in Marxist feminist and ecological theories of reproductive labour, with some attention as well to critical theories of race. This is an attempt to ground the status of the anomalous as a key means for the politics of artistic work and labour in the present.
Die fünfteilige Schöpfungsgeschichte Michelangelos und Platons Timaios
Authors: Garbe Otfried 
Published: January 2020

Abstract
Michelangelo based the design of the architectural frame of the Sistine Chapel ceiling on an underdrawing in a watercolor by Piermatteo d’Amelia, but he chose to subdivide it into nine bays. He then depicted the biblical story of Creation in five, rather than six, pictorial fields and made references to the number five in the fresco. This structure was intended to allude to the five Platonic bodies, which are a further development of the four elements and, according to Plato, explain the creation of the world. In the views of Augustine and of Christian Neoplatonists, there are close similarities between the creation story and the creation process as described in Plato’s Timaeus. They believed that Plato had imitated the story of Genesis. The remaining four panels would then symbolize the history of the human race and the classic four elements.
I Am Cleopatra: The Seduction and Stoicism of a Newly Identified Painting by Matthäus Merian the Younger (1621 – 1687)
Authors: Sanzsalazar Jahel 
Published: January 2020

Abstract
A previously anonymous Death of Cleopatra is here attributed to the Basel-born painter Matthäus Merian the Younger. Besides crucial stylistic connections with his known works, further evidence is given by a signed engraving, which was never associated with any known painting. The print is inscribed with a poem and a dedication to his patron Baron Septimus Jörger von Tollet. Word and image summarize the fascination and criticism that Cleopatra has aroused since antiquity. Presenting a warning against the power of her seduction while exhibiting her stoic death by virtue of the constancy of her love for Mark Antony, they respond to Merian’s adherence to the principles of Neostoicism. Merian creates a remarkably original Cleopatra that provides a key for future identifications of this lesser-known facet of his oeuvre.
Tricky, Fine, and Trapped: Painting the Femme Forte in Early Seventeenth-Century France
Authors: Knowles Marika Takanishi 
Published: January 2020

Abstract
Between the late 1620s and late 1640s, Jacques Blanchard, Simon Vouet, and Claude Vignon all painted the femme forte (strong woman), an exemplary, heroic femal type whose popularity was linked to the presence of Marie de Medici and Anne of Austria on the royal stage of France. This article puts early seventeenth-century French paintings of femmes fortes into conversation with period discourse regarding the reception of paintings and the status of women. Pictorial representation tended to cast the femme forte into contexts that compromised her exemplary status. Nude, on the verge of death by her own hand, the figure of the femme forte invited the very kind of sensual consumption that the femme forte herself attempted to disavow. Yet the ultimate threat posed by the femme forte was that her image might ‘trick’ male viewers into unwise actions.
Kuss eines Zyklopen. Die umgekehrte Perspektive Florenskis zwischen Kultbild und Kunstbild
Authors: Heffermehl Fabian 
Published: January 2020

Abstract
With his Reverse Perspective (1919) the Armeno-Russian theologian and mathematician Pavel Florensky denounced the monocular, ‘cyclopean’ vision otherwise seen as the main principle in Renaissance painting. Florensky connected the medieval icon with an ‘organic idea’ involving 1) binocular vision, 2) the observer’s movement in pictorial space, and 3) tactile proximity between observer and image. This article explores how ideas of perception relate to Florensky’s cultural criticism. His reverse perspective emerges as a complex controversy, not only between two principles in painting – the icon and the linear perspective. Florensky also challenges himself as a westernized intellectual, who, rooted in Orientalism, fails to defend a Russian Orthodox worldview.
Friedrich der Weise als Bauherr in Colditz, 1519 – 1525. Architektur, funktionale Struktur und Raumausstattung eines frühen Renaissanceschlosses zwischen »welsch und deutschen Sitten«
Authors: Syrer Christa 
Published: January 2020

Abstract
Frederick the Wise (1463– 1525), Elector of Saxony, was the leading cultural figure among the German princes of the early 16th century. He showed a special interest in architecture, but only little remains of his ambitious building projects except for Colditz Castle (rebuilt 1519 – 1525). This paper explores his active role as patron at Colditz focussing on the palace’s spatial structure and interior. Putting the Elector’s ideas into practice, the Saxon court painter Lucas Cranach the Elder was in charge of a uniform design which reflected humanist approaches to classical antiquity and different Renaissance styles. Following the model of Emperor Maximilian I, Frederick the Wise realised a sophisticated architectural concept at his residences that suited his noble status and ceremonial needs.