共查询到20条相似文献，搜索用时 15 毫秒
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《文物保护研究》2013,58(4):304-315
AbstractA polychromed sculpture was restored and examined. The shrine is made from pine-wood and the sculpture from oak. The ground consists of chalk and animal glue; the pigments are: azurite, a green copper pigment, yellow organic colouring material, orpiment, red lead, vermilion, red organic colouring material, iron oxide red, lead white and charred matter (charcoal ?). Metals used are gold and silver. The medium is on a drying-oil base to which a protein-containing material is added. Generally, the colours were built up in two layers. There is an extensive use of imitation gold, while the use of gold foil is limited to the areas of hair and the flowers on the garments.In general, the wood in all parts of the object was in good condition and no general impregnation was needed. Cracks in the shrine were filled in with wood or rejoined. The sculpture, which was split in two, was glued together. The condition of the polychromy was relatively good, and only local treatment was required. 相似文献
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Peter Putnis 《Media History》2013,19(3):295-299
In response to Dr Silberstein-Loeb's assessment of the Reuters/British government relationship during the First World War, this article reinforces and enlarges upon the role of the British Foreign Office in securing control over Reuters. This control was obtained with the agreement of Reuters' senior management who were keen to secure government financial support. The government (contrary to Dr Silberstein-Loeb's assessment) played a leading role in developing a mechanism to achieve control. The importance it attached to this is evident in the creation of ‘share 999’, a special share held by government nominees which gave its holders a power of veto over board resolutions. 相似文献
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J.A. Downie 《Media History》2013,19(3):261-274
Despite recent assertions about the new prospects opened up by the literary periodicals which emerged in the years immediately following the expiry in 1695 of the Licensing of Print Act, it is apparent that, right through to the 1740s, writing for the stage remained the best prospect for a writer hoping to make a living by the pen. We should therefore be cautious before we make sweeping generalizations either about the profits to be made out of periodical publication or the expanding opportunities they presented for professional writers, let alone about the role of the periodical essays of Addison and Steele in the emergence of ‘a bourgeois public sphere’ in which hierarchy was suspended, and which was accessible to all. Despite The Spectator's advocacy of polite rational exchange, historical consideration of the periodical press at this time reveals a high degree of political partisanship. 相似文献
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Dwayne Winseck 《Media History》2013,19(1):31-54
This article briefly sketches the rise of the global media system after the mid-1860s before turning to the transformation of that system during the First World War and until the end of the 1920s. In particular, we look at how technological changes, especially the development of wireless and, by late 1926, short-wave radio, were dealt with by the companies that ran the world's vast network of undersea cables, news organizations and governments. We show that responses to new technologies varied greatly, with some trying to blunt their impact while others embraced them. Mergers and acquisitions were a key response to the new technologies and to the worldwide economic boom of the 1920s. However, by the end of the decade, the economic logic behind these changes was eclipsed by a discourse of technological determinism, nationalistic corporate patriotism and imperial security. These ideological discourses underpinned a series of mergers throughout Europe and Britain, most notably the formation of Cable and Wireless in 1929. Similar pressures were at play in the USA, notably in RCA and the International Telephone and Telegraph Company's own bid to create a global multimedia conglomerate, although restrictions on cross-media ownership in the Radio Act (1927) and Congressional concern about the formation of a military–communications–media complex stymied the attempt. Altogether, however, the reorganization of the global media business at the end of the 1920s reflected and reinforced the collapse of this early era of globalization – the empire of liberal internationalism – and the rise of a new geopolitical–economic regime based on the struggle for the control of global communication, virulent nationalism and relative autarchy, not to be reversed until the revival of globalization in our own times. 相似文献
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《文物保护研究》2013,58(1):63-64
AbstractWhite crystals have been found to grow on the surface of a number of wax artifacts. Analysis was carried out on samples of wax and crystals taken from a Victorian wax fruit arrangement displaying crystalline growth. The possible relationship between crystallization, cracking and changes in temperature is explored. 相似文献
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John Steel 《Media History》2013,19(2):221-237
This article offers a methodological refinement to the radical narrative of media history and advocates an exploration of the ideological dynamics of media texts as a crucial component of their praxis. Focusing on early to mid nineteenth-century utilitarian theory and praxis as exemplified in newspapers and pamphlets such as the Westminster Review, the Examiner and Pamphlets for the People, the article offers a sophisticated ideological critique which is intended to augment radical analyses of media history. This analysis allows a more focused and precise account of the ways in which early proto-liberal reformers used the press in their political strategy. Despite the Philosophic Radicals having democratic aspirations, the article identifies inherent paternalistic and oppressive components of this praxis which has their seeds in classical Greek political thought. 相似文献
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Keith M. Johnston 《Media History》2013,19(4):377-388
Through an analysis of the first British television ‘trailers’, this article explores an intersection within media history where the film industry attempted to reach out and utilise the new dissemination medium of television. Whilst this moment could be read as an attempt to control the promotion of film on British commercial television, and impose American film trailer aesthetics on the ‘rival screen’, I explore the television trailer as an early cross-media text that offered a challenge to existing trailer structure and style. By focusing on the recreation of these lost texts through trade press commentary, the article provides a new perspective on industry attitudes, media technology and media relationships in this transitional moment. 相似文献
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"FOR AS THE SUN IS DAILY NEW AND OLD" 总被引：2，自引：0，他引：2
MIN-MIN CHANG 《大学图书馆学报》2003,21(1):10-12
这是香港科技大学图书馆馆长周敏民女士2002年10月23日在庆祝北京大学图书馆建馆一百周年“数字图书馆时代:现状与发展趋势”国际学术研讨会上的主题讲演稿。在这篇讲稿中,周馆长引经据典、旁征博引,以平易而又充满激情的笔触论述了当代图书馆员如何以健康、开放、积极的心态面对这个充满变化和挑战的世界,读来引人入胜,催人奋进。 相似文献
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Hugh Richard Slotten 《Media History》2013,19(3):253-272
In the second half of the nineteenth century, several Hebrew journals were established, creating a new cross-communal printed public sphere. At the time, Hebrew was merely a language embedded within the two languages of daily communication – spoken Jewish vernacular (Yiddish in Eastern European communities) and the state vernacular. It lacked an active basic vocabulary for many spheres of modern life and was no longer used in everyday or political discussion. In this paper, I investigate the linguistic choice of Hebrew by comparing three of the main nineteenth-century journals – HaMaggid, HaMelitz and HaTzfira. The reasons for using Hebrew were distinct and individual for each journal. Yet, I argue that choosing Hebrew had more indirect, national repercussions: even when it was not the primary rationale for its use, journalistic Hebrew acted as a catalyst for the rise of modern Jewish nationalism. 相似文献
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Michael Heller 《Media History》2013,19(2):143-166
In the 1880s company magazines began to appear in large-scale British organizations. By the 1930s almost every corporation had one. Based on business archives and using a combination of business and media history, this article attempts to map the rise and spread of the company magazine. At the same time, it examines the organizational roles and functions of this media. Company magazines came to perform a number of important roles within large-scale business such as the construction of corporate identity, the creation of organizational culture, the validation and negation of managerial power and the evolution of industrial welfare. It is the multi-faceted nature of the company magazine that suggests the rise in its importance, and also its centrality to those interested in the relationship between business and media history. 相似文献
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《Journalism Practice》2013,7(3):272-286
This essay reflects on the blogosphere reaction to a journal article of mine about the relationship between journalists and media academics in Aotearoa New Zealand. Much of the response reenacted the original essay's argument about journalistic antagonisms towards critical theoretical scholarship. I resituate the reaction in terms of the original essay's objectives, and discuss the chaotic nature of these academic field/journalistic field exchanges. I argue that it would be a mistake to simply dismiss the blogosphere attacks, because that would merely reinscribe my identity in the blind antagonistic frame I had originally critiqued. Instead, revisiting aspects of the original essay that were subsequently ignored, I elaborate on the implications of William Connolly's call for an ethos of “agonistic respect” both for the articulation of an engaged counter-response and the interrogation of political and cultural antagonisms more generally. 相似文献
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Hilde Van den Bulck 《Media History》2013,19(3):321-344
A television channel's identity is shaped by its output: not just the relative share of different programme genres but equally so the relative position programmes take up in the schedule. This paper refutes the notion that the development of scheduling strategies and tactics – to make the programme schedules as interesting as possible for viewers – are a product of a commercial and competitive television environment. It will be demonstrated that, from its inception, public service television paid considerable attention to the way in which the actual programme schedules could help establish its cultural–educational broadcasting goals. Taking Flemish public service television between 1953 and 1974 as a case in point, the paper analyses how, first, European public service broadcasting (PSB) created its own annual, seasonal, weekly and daily rhythm and, second, how contemporary scheduling strategies and tactics (compatibility, hammocking, etc.) can be identified in the monopolistic past, albeit interpreted along historically dominant PSB policy objectives. 相似文献
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Abstract Furunori (aged paste) is a conservation material that is used for Japanese painting conservation. Furunori is a smoother and weaker adhesive than fresh paste, and it enables the surfaces to be easily peeled apart, with application of water, in a future conservation. Due to these characteristics, furunori has traditionally been used for attaching the backing paper to paintings in Japan, because it is considered that furunori causes less stress on the paintings than fresh paste. This study aims to clarify the characteristics of furunori based on chemical analysis and examination of the microorganisms involved in the early stage of furunori generation. Based on the results obtained, a polysaccharide similar to furunori was prepared. 相似文献
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"你喜欢THE DAILY吗,那就下载纽约邮报app吧"!THE DAILY的跟版广告现在已经换成了这样一句话,传媒业巨头默多克为ipad量身打造的THE DAILY宣告2012年12月15日停刊。1年零10个月的创新试验从前曾带给传统报业多少梦想,而今就带回多少失落和遗憾。不过,THE DAILY的创新仍可谓经典,其意义不在于它验证了报业该如何转型,而在于它验证了报业不能尝试的方向,业界的认识无疑将因THE DAILY的实践而前进一大步。 相似文献
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《Journalism Practice》2013,7(1):81-95
Despite the central role of the paper in Marxist–Leninist strategy, the Communist Party of Great Britain (CPGB) had little confidence in either professional journalists, including those who were Communists, or journalism practices, even though journalism, like culture, was recognized as “a weapon in the (class) struggle”. While George Allen Hutt (1901–73) was a leading professional party journalist, his career hit a “glass ceiling”, even as he met the three criteria of Communist journalism theory and earned an international reputation as a newspaper designer. In spite of opposition to his role on the executive of the National Union of Journalists (NUJ) because of his party membership, he became the longest-serving editor of the NUJ's periodical, The Journalist. As both a loyal, lifetime Communist and the consummate professional journalist, Hutt's career provides a salient example of the ambiguous position of the middle-class journalist in the proletarian-dominated Communist Party. It was the emphasis on his “technical” ability that appears to have disqualified his candidacy for the Daily Worker's top editorial positions and to have justified support for his editorship of The Journalist. 相似文献