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Jason yu cake oregon state1/1/2024 Once religious material culture is displayed to audiences within museums of fine and decorative art, ethnography, and history, how does the process of musealization transform an object’s narrative potential? Although the eighteenth-century European Enlightenment museum paradigm privileges visual faculties above tactile or auditory, how can curators, artists, and museum educators today help audiences understand the performative, interactive, and multisensorial dimensions of devotional practices past and present? More recently, Crispin Paine and others have addressed the spiritual dimensions of contemporary art and the curatorial challenges of displaying sacred artifacts for heterogenous publics. In the mid-1990s, Carol Duncan acknowledged the secular museum’s role within the staging of civic rituals. Whereas museum professionals of the 19th century tended to separate the beliefs and practices of religious devotion from the aesthetic and pedagogical aims of the museum, scholars today increasingly recognize that the distinction between ritual devotion and a more objective aesthetic appreciation can be blurry. By exploring the intersection of art history, anthropology, and religious studies, this panel adopts a comparative and diachronic perspective to understand the historical and conceptual dynamics governing such acts of mediation for modern and contemporary audiences. However, once removed from an overtly religious context and reframed within a public museum or art space, the function, audience, and perceived agency of these artifacts can change, as do the expected rules of viewer engagement. Panel Overview: From painted altarpieces to prayer rugs and reliquaries, museums are filled with objects originally created for use within a devotional or ritual practice. The work of three women artists working in media including assemblage, film, and installation will show the continuity of the idea of a perceived transfer of efficacy from a sacred site/object to their relocation in a work of contemporary art - and how such ritual engagement is received by the religious and art communit(ies) today. This paper shifts the focus to the present day in order to explore the afterlife of religious souvenirs and third-class relics that have been incorporated into contemporary artworks. Foster-Campbell’s essay in Push Me, Pull You: Imaginative, Emotional, Physical, and Spatial Interaction in Late Medieval and Renaissance Art). Paper Abstract: Recent scholarship in the field of medieval studies has shown the importance of souvenirs collected from sacred sites and used to extra-illustrate personal Books of Hours to create a multifaceted devotional experience (see, for example, Megan H. We also present a descriptive cross-country empirical analysis showing that there are higher levels of access to college credentials in countries with deferred tuition systems. We show that the equilibrium level of subsidies to higher education will not necessarily decline under PIF, and may increase in some equilibria due to changes in college access for low income groups. The equilibrium level of subsidies depends crucially on the pattern of income distribution, in particular on the relationship between mean income and the income of the median income group. The results show that college access is enhanced by PIF policies. We analyze the impact of two facets of potential PIF policies – a deferred tuition approach and an income share approach – on college access and on voting equilibria over subsidy levels. This paper proposes a theoretical model of PIF policies within a framework in which voters belonging to different income groups vote over the level of subsidies to higher education. Since 2013, at least 24 states have considered legislation on Pay It Forward (PIF) models of higher education finance (which enable students to pay the price of college upon departure from an institution, as opposed to paying upfront tuition).
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