We are witnessing a Europe in turmoil, tormented by the violence of ethnic and nationalist struggles which legitimate themselves in the name of identity. This anthology explores the assumptions of identity by disassembling old myths and fictions of unity in relation to the subject, politics and art. Other than identity offers the possibility of rethinking the concept and introducing instead notions of self and other, identity politics and aesthetics. Through theoretical and concrete examples, this study exemplifies the best of current (...) thinking concerning identity. It marks a new venture in multi-disciplinarity, bringing together writers identified with different discursive fields and visual artists to produce work specifically for this publication. Not only will each chapter be a contribution to particular specialist genres but the collection as a whole will offer new possibilities for rethinking identity. The multifarious approach will appeal to a wide spectrum of disciplines and discourses and to anyone with an interest in what is traditionally identified as culture. (shrink)

This article discusses Stuart Hall and Homi Bhabha’s theories on multiculturalism and diaspora as alternative epistemological references to confront racist revivals across Europe. Edward Said’ s defence of inclusive academic curricula is equally revisited as a parallel strategy to deconstruct Eurocentric ideas. These three thinkers also represent nationalism as an obsolete paradigm, inadequate to perceive a globalized world. The point of this article is to revisit established postcolonial thinkers and see how their discourses have been reinterpreted by committed artists/writers (...) whose works seem to share with the invoked thinkers the aim of challenging their audiences to think differently about race, cultural difference, invisibility of oppression and right of ‘belonging’. The invoked theoretical discourse is used as a platform to discuss four artistic interventions – a poem by Eunice de Souza, Raimi Gabdamosi’s performance in Cadiz, the collective installation Return to Hansala at MUSAC museum and a sculpture by Portuguese visual artist Ana Vieira. Two of the selected works address gender issues in articulation with domesticity and patriarchal genealogies while the other two pieces address race and marginalization without any particular gender inflection. The choice is deliberate. Feminist discussions cannot be isolated from other discourses that expose related forms of oppression and marginalization even if they are not primarily formed by feminist awareness. (shrink)

The essays in this collection explore both how the employment of nation-state dominated discourses have caused a re-imagination of the past, and how the past has been re-constructed to accord with nationalist agendas. Although other works have considered in general terms how nations are imagined, this collection takes a different stance and specifically focuses on how 'the past' is used in such imaginations. This collection was conceived in an interdisciplinary spirit, drawing insights from art history, intellectual history, literature, archaeology, heritage (...) studies, political science, and film studies. The authors combine a sophisticated theoretical approach with illuminative case studies from all across the globe, including the Balkans, South Africa, Rwanda, the Yemen, Italy, Turkey, Greece, and Uzbekistan. (shrink)

Each Olympic Games will offer fresh research material in the fields of social and sports philosophy. This article uses Beijing 2022 Winter Olympic Games (B2022WOG) as an illustration to discuss the difficulty in viewing sports as contributors to social progress. We have examined the phenomena of fusing classical Chinese philosophy with social sports philosophy, as exemplified by the current Olympic movement. The key finding is that the fusion of Eastern and Western cultures and civilizations is responsible for sports revival as (...) a social force in the modern era. As a result, new social cognition emerges. The leadership of the nations hosting the Olympic Games gains knowledge and the chance to showcase their own political, economic, and solid philosophical underpinnings. The B2022WOG, taking place in a completely new societal environment (COVID-19 pandemic, world power realignment), is used as a case study for analysis. Using this example, the artіcle shows the social significance of the Olympic Games and emphasizes that the social value of sports and the Olympic movement is reflected in the "spirit of fair competition" and the "spirit of peace", "human intelligence". This is a relatively new direction in the development of researcհ in the field of physical education and social philosophy, and the special contrіbutіon of this study is to study one of the promising trends in the development of sports, that is, the modern Olympic movement, integrated with the national culture of different countries, B2022WOG were utilized as a case study for research since they are taking place in a totally new social context (COVID-19 pandemic, realignment of global power). By using this illustration, the article highlights the social significance of the Olympic Games and stresses how the "spirit of fair competition", "spirit of peace" and "human intelligence" are reflections of the social worth of sports and the Olympic movement. This is a relatively new area of study in the fields of physical education and social philosophy, and the focus of this research is to examine one of the most encouraging developments in the field of sports — the modern Olympic movement — as it interacts with various national cultures. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art Education and the Emergence of Radical Art Movements in Egypt: The Surrealists and the Contemporary Arts Group, 1938–1951Patrick Kane (bio)So it wasn’t the aim of the artist to just toss out a work of art. A tradition of the exhibition of the natural, and its meaning was not that it fled from life, but that it had penetrated and plunged into reality. Its meaning was not a prescription (...) or plain exercise in the taste of the sublime, or harmony of forms and charming scenes; and its meaning was not as a decoration of life; it was in its expression of what life inspires in us to give back.—Henry Moore, as quoted by Ramses Yunan, in “The Aim of the Contemporary Artist”1In these crucial days of difficulty, the artists in this country live in tall aristocratic towers.... For this peasant has an art of his own that sustains him, and it is not that art of the educated class.—Kamil Al-Tilmisani (c. 1941–1942)By 1938, as the agrarian crisis in Egypt deepened, the Depression, food shortages, low wages, expropriations of crops, and forced rents opened a polemic among Egyptian intellectuals over the role of the state and the looming threat of fascism. With the dismissal of the government of Mustafa Al-Nahas at the end of 1937, the political turbulence underscored the weakening of the Wafd Party. Opponents of the old Wafdists and supporters of the monarchy resorted to openly fascist tactics, including the establishment of youth organizations and the Blue Shirts, the fascist front of the young Wafdists who modeled themselves on Mussolini’s Black Shirts. The serial crises of agrarian struggles and parliamentary stalemates between [End Page 95] nationalists and monarchists led to increasingly militant stances by the paramilitary fascist organization Misr Al-Fattah (Young Egypt) as a counter to the Muslim Brothers. When Mahmud Khalil resigned from the Wafd and assumed the presidency of the Senate in 1938, his ascension opened a new phase of struggle in politics through culture and the arts.2 In this context, caricatures and satirical sculptures of Khalil appeared in 1939 that parodied him as the icon of a “dictatorship of art.”3 Leading intellectuals from all political stances addressed these issues directly. The cultural journals were peppered with articles on the problems of everyday life and the material crises with such representative titles as ‘Abbas al-Aqqad’s “Food for the Rich,” in which he raised the problem of food shortages and inequity as an issue for reform.4 Within the year, articles in Al-Risala and Al-Thaqafa drew comparisons with French and Italian nineteenth-century landscapes as a model for the recognition of the countryside as a subject. In journalism and the arts, suffering became a part of the recognition of the everyday, as articles appeared on Millet’s nineteenth-century paintings of French peasants.As the war in Europe encroached into the cover pages of Egypt’s cultural journals, Zaki Muhammad Hasan wrote an essay for Al-Thaqafa entitled “The Angelus,” with a reproduction of the 1859 painting by Jean Francois Millet (1814–1874).5 Hasan wrote about Millet’s interest in the “the daily labors of the peasant” as a depiction of the conditions of French peasants. Hasan’s mention of Millet’s own peasant origins, and his listing of paintings of social conditions, including Les Glaneuses (The Gleaners), reflected a broadening interest in the artistic subject of the peasant and the rise of the peasant as artist. Although in Millet’s painting there is a prayer scene of a man and a woman in the fields that is generally regarded as the evening prayer with the sun setting, an Egyptian reader could link the prayer with the issue of workers taking breaks in the fields at a time when the issue of compensation of peasant farm workers was paramount.6 Hasan introduced “The Angelus” to his readers as a Catholic prayer in southern Europe offered at dawn, noon, and sunset and compared the origins of the prayer’s stanzas from the Gospel of Luke 1:28–31 with passages from the chapter on Maryam in the Quran... (shrink)

To date, the study of “religion” and “martial arts” is a lacuna of the field in Religious Studies in which the depth of association has long gone unrecognised. What little study there is, however, suffers from a practitioner’s bias in that those writing on martial arts are also attempting to promote the agenda of their own discipline. This paper attempts a more critical approach to show the study of martial arts can contribute to the ongoing problematisation of “religion” as an (...) analytic category, particularly in its relation to “the secular” and “nationalism”. To do this I will draw on the philosophical phenomenology of Husserl, Sartre and Schutz to argue that “religions”, “nationalisms” and “martial arts” are all names given to modes of naturalisation. By this I mean they are means by which a person “fits” within their life-world and deals with the problems of surviving and thriving. In this case of martial arts, these can be seen as modes of naturalisation through debates on “sportification”. As commonly conceived, the sportification of a martial art risks impeding its “spiritual” aspects. It is the martial artists’ understanding of “spiritual” as something public and serious that mark it out as a mode of naturalisation. In the case of “religion” and “nationalism” these are ideological means of categorising modes of naturalisation, primarily as a means of “Othering”. By looking at the case of Kendo and its origins in the samurai, this paper will show the fluidity with which these ascriptions can be applied to a single “tradition” depending on context. (shrink)

Du début du xxe siècle aux années 1950, en Égypte, le geste de se dénuder se politise. Cet article s’intéresse à la façon dont des militantes et artistes mobilisent le dénudement dans leurs répertoires d’actions et dans leurs stratégies rhétoriques à des fins nationalistes ou féministes. Cette recherche propose ainsi un panorama chrono-thématique des questions relatives à la corporalité féminine, mises au-devant de la scène par ces femmes engagées. Des années 1900 aux années 1920, l’étude se focalise sur les corps (...) féminins dans la rue, visibles, mobilisés et révélés au nom du « bien-être de l’humanité ». Puis, pour évoquer le tournant des années 1920 et 1930, l’analyse porte sur les corps dans les sports ou à la plage, exposés et « bons » pour la nation. Enfin, la réflexion se déploie sur les « beaux » dénudements et la patrie dans les arts, la mode et les concours de beauté, du milieu des années 1930 aux années 1950. (shrink)

Pluralism—the incommensurability and, at times, incompatibility of objective ends—is not relativism, nor, a fortiori, subjectivism, nor the allegedly unbridgeable differences of emotional attitude on which some modern positivists, emotivists, existentialists, nationalists and, indeed, relativistic sociologists and anthropologists found their accounts.

Cinema is not only a space in which directors act with the aim of making art, but they also reflect their own testimonies and political perspectives; this study, which claims to be related to representation strategies that contain various interests and desires; It is of the opinion that different ideological approaches are reflected on the screen by political and cultural elites in line with the construction, legitimacy and movement of identities and images. In this study, which examines the Türkiye’nin Kalbi (...) Ankara movie, which was shot in the intense socio-political atmosphere of the 1930s and was shot to tell Turkey's nationalization process and modernization experience through the capital Ankara; the manifestation of the Turkish nation-building process in cinema is discussed through the relationship between nationalism and cinema. (shrink)

Among the galaxy of scholars, Swami Vivekananda stands out as a majestic tower of light who has given a new tempo to the building up of a new sense of nationalism in modern India. The uniqueness of Vivekananda was his endeavour to translate every ounce of Vedanta into a social living and was never a cold theoretician or an abstract metaphysician. He was aware that India's life is governed by her sovereign sense of the inclusiveness which nourished her national (...) life and India has been a spiritual strength for her people, implanting the seeds that have continuously sprouted in her art, literature, religion, philosophy, science and politics. It is a civilization that should be seen, not as a closed system or as a product, but as a dynamic and unfolding process. Whatever the differences, India's spiritual heritage should be recognized as the focal point and to be appropriated in the conception of a new resurgent India. Regrettably, what we had been glorifying as the central value of this culture and civilization is disorientated today due to the brutal exhibition of barbarous instincts which were exhibited through the rivalry between religious groups. What is being experienced is the loss of inherited values and our inability in reinventing new values. By virtue of its characteristic pluralism and its continuously evolving synthesis, India represents a nation which is continuously unfolding its civilizational potentialities. In making of such an Indian ethos, the foundational ideal which has been the basis of Indian culture and civilization is the concept of Dharma and Vivekananda was able to comprehend and articulate the relation between morality and human affairs which are the concerns of practical Vedanta. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Symposium Art and Aesthetic Education in Times of Terror: Negotiating an Ethics and Aesthetics of Answerability Deanne Bogdan University of Toronto Claudia Eppert Louisiana State University Candace Yang Louisiana State University Charlene Morton University of Prince Edward Island The terrorist attacks of 1 1 September 2001 have created a climate of loss and fear among many in the western world. Some educators have maintained that any discussion ofthese events (...) so soon after they have happened threatens to dishonor the memory ofthe victims and is too difficult because ofour emotional unsettlement. These concerns are warranted; any discussion would indeed need to be mindful ofthem. The predominant position ofthis symposium, however, is that these events have created such chaos and uncertainty that we are faced with the immediate challenge not of disavowing or deferring discussion but rather of determining the initial terms of an ethical answerability. Thesymposiumparticipants seek to initiate such a difficult conversation in the hope that aspects of it might offer a productive resource forclassroompracticeanddailylivingas we find our way through grief and moral confusion. Thediscussion centers ontheroleaesthetics and aesthetic education haveplayed and continue to play in responding to these events and their aftermath. In particular, it considers the terms on which the arts might variably serve as a vehicle for consolation and healing, for honoring the victims of this event, and for educating present and future generations about what happened and about the requirements ofpeace. Furthermore, the challengefacedbythearts andaestheticeducation in addressingNorthAmerica's psychic and social needs is increased in recognition that these challenges are occurring in a context heavily infused with senseless violence and nationalist rhetoric. This context makes evident the need for artists and educators to help map an ethical and spiritual terrain for re-evaluating the "American way of life," national identities, and democracy itself. It is amappingthat shouldnot takeplace outsidethe arena ofthe political, but should respond to and intervene in it. It is a mapping, therefore, directed toward helping find"a wayofdevelopingapraxis ofeducational consequence that opens the spaces necessary for the remaking ofa democratic community " (Maxine Greene, The Dialectic ofFreedom [New York: Teachers College Press, 1988], 126). The papers in this symposium were originally presented as a panel discussion at a special session of the Philosophy of Education Society (PES) annualmeeting,Vancouver,BritishColumbia, in April 2002.©Philosophy ofMusic Education Review 10, no. 2 (Fall 2002): 124-139.... (shrink)

Pencak Silat is a martial art, performance practice and system of body cultivation prevalent throughout much of Indonesia and the Malay-speaking world. This article compares different modalities of the practice and pedagogy of Sundanese Pencak Silat in West Java with more recent attempts to standardize practice at a national level under the auspices of the Indonesian Pencak Silat Association. Drawing on David Sudnow’s seminal account of learning how to play jazz piano, it is suggested that learning how to improvise is (...) a highly structured process that proceeds from the mastery of certain generic principles from which are generated potentially unbounded repertoires of habitual response. In the institutionalized instruction that is propagated by IPSI generative potential is subjugated to the desire to achieve homogeneity in practice. Aspects of Pencak Silat as it is taught nationally under the auspices of IPSI are examined in relation to the notion of spectacle. In conclusion, it is argued that the limits of the Nationalist project become self-evident as the dynamic potential of the body in Sundanese Pencak Silat is subsumed in an attempt to achieve fixity of the symbolic order. (shrink)

Examines art and literature of the Americas through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde. Demonstrates how modernism and the avant-garde were debated at the very moment of their development and consolidation"--Provided by publisher.

This article seeks to understand the social and cultural factors that led to the introduction of music and art education in public schools, a process that began in the middle decades of the nineteenth century. Based on archival material, including institutional catalogues, school board reports, magazine articles, and tracts, I demonstrate that music and art held varied meanings in this period, one of the most important of which was denominational competition. One major element in a nationwide promotion of the arts (...) in the mid-nineteenth century was the revitalized Protestant contest for religious adherents in the wake of Catholic immigration. A second important, and often overlooked, aspect of music and art education was its vocational implications. Although some historians have relegated women's study of music and art to the reproduction of elite status, a significant aspect of these studies was vocational. In a world in which limited occupations were open to women, skill in music and art expanded women's options and, for some, made financial independence possible. In addition, although many of the factors involved in the rise of music and art education?such as nationalism, refinement, and health?were nongendered and applied to both women and men, the repercussions of these programs were quite gendered and may add to our understanding of the process by which the teaching force was feminized. (shrink)

The liberalism of flourishing : two versions -- Intellectualist-moralist liberalism of flourishing -- Comprehensive liberalism of flourishing -- The liberalism of flourishing and autonomy liberalism : some comparisons -- Flourishing, art, and the state -- Art and flourishing -- Art and the liberal state -- Liberalism, art, and religion -- Liberalism, religion, nationalism : liberalism in the domains of meaning.

continent. 1.4 (2011): 253—278. A Sense of French Politics Politics itself is not the exercise of power or struggle for power. Politics is first of all the configuration of a space as political, the framing of a specific sphere of experience, the setting of objects posed as "common" and of subjects to whom the capacity is recognized to designate these objects and discuss about them.(1) On April 14, 2011, France implemented its controversial ban of the niqab and burqa , commonly (...) referred to as the Islamic veil, in public places. On the coattails of the 2004 prohibition of religious artifacts, including the less concealing hijab or Islamic headscarves, in schools, the veil ban sparked equal outrage across both political and theological spectra, and many on both sides of the debate were quick to inquire about enforcement. As Steven Erlanger reports, “The police do not have the authority under the law to remove full veils, only to fine or require citizenship lessons for those who violate the new law.”(2) While the legal and social implications of this interdiction are ripe for study, the reprisals for breaking the law, notably compulsory citizenship classes, illuminate the strategic governmentality underlying the French government's targeting of the Muslim community, particularly those elements it considers affiliated with fundamentalist factions and/or terrorist organizations, if only through fashion—an integral component of French citizenship. Indeed, in allowing the (fashion) police to mandate instructional courses in citizenship for offenders, France implies that any Muslim choosing to wear the niqab or burqa , perhaps even for those who are already citizens, must not be aware of the subtle nuances of dress indicative of the French citizenry within public space. Furthermore, the degree of instruction requisite to citizenship, which clearly can and must be updated as the state sees fit, cements the imagined relation between citizens and states within the discourses on the veil ban. As Sharma contends, “Concepts of citizenship are the ideological glue that bonds the nation to the state. Citizenship provides the legal framework through which the state performs its role as ruler for the nation.”(3) Speaking for/as the state, French President Nicolas Sarkozy declared in a 2009 presentation before members of the government and other citizens that the burqa “is not welcome on the territory of France.”(4) Although there is nothing unique, especially recently, about a nation-state taking extreme measures to guard itself against what it deems to be threats to its sovereignty, the way in which the ongoing discourses on hijab have (d)evolved, which coincide with recent pronouncements by governmental leaders in Germany, Britain, and France that policies of multiculturalism have “failed,”(5) points toward nationalist reterritorializations, which is also to say physical and ideological re-appropriations, of public space within democratic milieux, which remain predicated upon the mediation of spaces. As Panagia deduces from Rancière, “Democracy […] is not an institutional form of government […], but an appearance whose visibilities and audibilites arise out of the dissonant blur of the everyday.”(6) Ultimately, the veil ban represents a calculated move to regulate the every day, which is to say the micropolitics of, that which is visible and invisible within French society, which makes it nothing short of a struggle to manage (the sensation of) bodies. Re-situating the political within the context of sense, Rancière argues that the fundamental essence of politics lies within the distinction between consensus and dissensus , and whereas most consider politics proper as fundamentally concerned with the fluid operations of the state— consensus , Rancière actually locates the political within events that disrupt the normative sensory order of things— dissensus . He explains, “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”(7) This reformulation of politics centers on agency and, albeit perhaps unintended, representationality and offers a useful formulation for spatializing the discourses surrounding the Islamic veil, which are mired within seemingly senseless policies and practices of objectification. Instituting a normative “regime of visibility,” the French veil ban encapsulates the political economy of agency, now both mediated and representational, under the rule of nationalist governmentalities in increasingly transnational contexts.(8) Adjudicating presence within public space signals a concern with the sensory aspects of agency itself—what Rancière terms the “distribution of the sensible,” which is “a matrix that defines a set of relations between sense and sense: that is, between a form of sensory experience and an interpretation which makes sense of it.”(9) To be concerned with sense is to focus upon the body, and this somatic repositioning of the (fashionable) citizen within the territory of the state augurs the resurgence of nationalist bio-politics within Europe, since, as Hage explicates, “Nationalism, before being an explicit practice or a mode of classification, is a state of the body. It is a way of imagining one's position within the nation and what one can aspire to as a national.”(10) The French government's attempt to make (bodily) sense of public space for its citizens by and through policies aimed against a burqa-clad Muslim minority, which might only apply to “less then 400 to fewer than 2,000” women(11), reveals the necessary, yet mercurial, transmutation of public space into national space through bio-political strategies of sense-making, which, as Hage observes, denotes that “nationalists perceive themselves as spatial managers.”(12) At the center of this concern over public space is the equally contentious dimension of governing female Islamic identity, which has become one of the main critiques levied against Islam from outsiders who view the veil in its various forms as a clear sign of the religion's actual and symbolic violence against women, even if such critiques remain ensconced within nationalist discourses. As Halim and Meyers argue, “Although Western news media may focus their coverage of Muslim women on the debate over whether and the extent to which the veil may by oppressive to the women who wear it, they have exhibited little interest in the physical oppression of violence against women in Islamic countries.”(13) While it falls outside of the scope of this analysis to arbitrate all of the dimensions of this debate, understanding some of the issues related to female identity and hijab within public space are crucial to this study. As these topics are extraordinarily complex, even and perhaps especially within the Muslim community, it is necessary to provide some context concerning the value, purpose, and meaning of the Islamic veil, which has a rich and arduous history. The Art of the Veil At present, there are only two countries, Iran and Saudi Arabia, that require women to wear hijab , which is a decidedly problematic term and concept whose locus is itself caught within a struggle of sensation. Noting the strategic reterritorialization of the term, Berger explains: The choice of the name, hijab , now widely adopted to designate the “Islamic veil,” it itself interesting, although the semantic shift it operates is not directly commented upon by its users. Although the design (both the cut and the symbolic function) of the hijab and the Iranian chador are indeed the same, as opposed, for instance, to the traditional Algerian haik , the word hijab has come to replace the term chador popularized by the Iranian revolution, as a properly Arabic (hence Koranic) designation. This discursive shift points to the successful reclaiming of the national revolution in Iran by a transnational pan-Islamic movement, whose language of reference can only be Koranic Arabic.(14) While the hijab is certainly a point of contention within various countries dealing with immigrant Islamic populations (of which France has the largest in Europe as part of its colonial legacy in Algeria), it is clear that the veil is a historically contextualized artifact of Muslim identity with a variety of manifestations, even as forces outside of and within Islam seek to codify its actual and symbolic value. Ultimately, the varieties of hijab , including the full-faced burqa and niqab , are complex assemblages of meaning that speak to the multitudinous flows of Islamic identities over time and space. As Gökariksel and McLarney observe, “Wearing a certain style of veil may simultaneously be a disciplinary practice crucial to the cultivation of piety (Mahmood 2005; Gokariksel 2009) and a gendered performance of social distinction in terms of class, taste, and urbanity (White 1999; Navaro-Yashin 2002; Gokariksel and Secor 2009) or of ethnicity and race (Dwyer 1999).”(15) The ideological marketplace from which the varieties of hijab ebb and flow serves both as a reflection of the ever-present materiality and dynamic functionality of spiritual economies, which are derivative of the equally ubiquitous flows of transnational capital driving agency and representationality within our historical moment. Keeping these dual, yet deeply interconnected, capital ecologies as the site of exploration for how the veil is represented within public space, one might begin to sense what lurks behind such veiled agendas. Examining the symbolic and representational nature of the Islamic “veil” in its various forms, this project situates the decidedly political contestations of public space at stake in the French ban alongside recent condemnations of multiculturalism as calculated efforts to re-distribute the sensible so as to valorize national identity within increasingly transnational and globalized socio-economic spaces, which collapse exchange values between distinct, yet interwoven, economies of (cultural/material/spiritual) capital. As the discourses on the veil rely upon representational imag(in)ings, it seems fitting to explore the political economy and art of the veil through the phenomenon of street art, which, much like hijab , is a complex assemblage of meaning of sensation mired in representationality and capital exchange. As street artists have taken up hijab in various forms, the movement offers a lens with which to situate critical responses to the veil debate across both spiritual and material economies. Situating this street art both aesthetically and historically, Lewisohn explains, “'Street art' is a sub-genre of graffiti writing and owes much to its predecessor. Though there is a good deal of crossover between the genres, they are distinct and separate in their own right.”(16) Evolving out of the graffiti explosion of the late 1970's and 1980's, street art broke the unspoken rules of the artistic underground by challenging and re-examining one's sensory experience of art in public space by experimenting with both content and form in ways that harken back to the Situationist International, which as a collective challenged one's experience of urban space through various media and experiential phenomena. Again, Lewisohn observes, “It's important to note street art's break with the tradition of the tag, and its focus on visual symbols that embrace a much wider range of media than graffiti writers would use.”(17) From stencils to prints and murals to one-liners, street artists developed a reputation for critical social and political commentary, and while it is certainly the case that not all street art is intentionally political, in challenging the normative “regime of visibility,” as Rancière puts it, of public space, street artists—even if unconsciously—call into question the common sensory experience of the politics underlying the formation of (nationalist) space.(18) Indeed, Rancière refers to the partisan sensory managers as “police,” who ultimately forge “the rules governing the circulation of appearances, of their visibility and audibility, and the proper distribution of bodies therein.”(19) As such, one can sense that street art's relationship with the police is tenous for a variety of reasons. Writing about his own experience as a street artist, Shepard Fairey observes, “With street art, there's no committee deciding whether I can put my work up on the street, there's no censorship, and I have total freedom of expression, and that concept of freedom is expressed just by using the street as a medium.”(20) As Fairey and other street artists demonstrate, the medium, to paraphrase Marshall McLuhan, is the most glaring aspect of street art's message, and even as it now finds itself in galleries and usurped by private collectors, the ethos of the movement remains relavent to politics as it is, first and foremost, concerned with the configuration and experience of space. Just as examining the punishments for breaking the veil ban can map the terrain of French politics, a representational genealogy of street artist's deployment of hijab and female Muslim identity can assist in mining the depths of public space as a site of bio-political control and contestation in light of recent events in France and the rising tide of anti-multiculturalist rhetoric across Europe, even though the Islamic presence there is radically heterogenous. Using the work of Shepard Fairey, Princess Hijab, br1, and Banksy, this paper sets out to answer a number of key questions concerning the deployment of hijab, and female Islamic identity in particular, within street art as a movement now integral to and critical of the economies of exchange underlying global capitalism, which as a force of influence cannot be underestimated as a driver in the resurgence of nationalist biopolitical governmentalities. Although there exists a litany of artists to choose from, the aforementioned quartet of designers integrate hijab into their work in a seminal and critical fashion, and all have been working with the veil in some way prior to the French ban, which grants some additional context to their usage of it as a symbol in regards to the breakdown of multiculturalism across Europe, even if unconsciously. Although each artist depicts various amalgamations of hijab in their respective corpus, they share common tropes that raise significant questions concerning the veil debate, namely: what are the conditions of possibility for hijab to become a marker of Islamic identity within public space? How can we make sense of the representational topologies within street art's utilization of the hijab and female Islamic identity in light of the French ban? How might these aesthetic imag(in)ings simultaneously inhabit and combat normative discourses concerning hijab , multiculturalism, female Islamic identity, and public space? With these considerations as a backdrop, it is first necessary to outline more fully the hijab as a representative marker of female Islamic identity. The (Veiled) Writing on the Wall

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Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II's Congo Colony and the state sites of Mobutu Sese Seko's totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, (...) delight, seduce and impress. In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa's post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908-13). Congo Style combines Sacks's practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context. (shrink)

In this paper we elaborate on the question how to bridge the gap between contemporary (New) music and the tradition of the past, often called ‘classical’ music. First we analyze the notion of tradition (in classical music) as being distinct from traditional music, nationalism and traditionalism. A central role in this paper is dedicated to the role of counterpoint education following J.J. Fux’s Gradus ad Parnassum in the development of Central-European classical music between the late Renaissance and late Romantic (...) periods. The developments in the 20th century New Music reveal several important trend breaks. The controversies raised during the early Renaissance, regarding the practice of polyphonic singing, are discussed with respect to their impact on music development in later ages. From these controversies and the re-discovery of Nicholas de Cusa’s view on mysticism, the experience of the non-experience in polyphonic music is elucidated. Herewith, an illuminative heuristic is found in the enfolding-unfolding paradigm both in music and pictural arts, from the Renaissance till the present. (shrink)

This article investigates the portrayal of Spanish women in a rarely discussed work by the German popular philosopher Christoph Meiners (1747–1810). Between 1788 and 1800 Meiners wrote four substantial volumes titled History of the Female Sex: Comprising a View of the Habits, Manners, and Influence of Women, Among all Nations, from the Earliest Ages to the Present Time, which sought to give an account of the physical and moral qualities of women, and their treatment at the hands of men “at (...) all times in all lands” (Vol. 1, p. III). This article explores the two chapters of this work that address the qualities and status of Spanish women, in order to shed light on perceptions of Spain in northern Europe in the eighteenth century. The decline of the Iberian Peninsula as a seat of European imperial power from the seventeenth century, and the emergence of northern European countries such as France, the British Isles, and even the German provinces, as centres of Enlightenment thinking ushered in a new era of geographical dualism in Europe. This article will build upon recent critiques of the “Orientalisation” of Spain by northern Europeans, showing how the marginalisation of Spain served the nationalist strivings of this provincial German scholar. ☆ Heather Merle Benbow would like to thank the Australian Academy of the Humanities and the Centre for Research in the Arts, Social Sciences and Humanities, University of Cambridge, for support towards this research. (shrink)

The focus of this dissertation is to identify, analyze, and critique what I take to be a fundamental contradiction between the ideal mission of the university to serve as the site for the pursuit of truth and the function of Traditionalist humanities curriculums. I argue that because nationalist education makes it nearly impossible for students to engage in the critique of ideology, nationalist education is antithetical to the university's mission. With anything less than the ability to engage in this critique (...) of ideology, there is no way that students can participate meaningfully in the ideal of the university. ;In the opening chapter I argue first, that the development and preservation of national culture stands in a dialectical relation to the preservation and contestation of national identity; second, that post-secondary education in the arts and humanities is largely education in the national culture; and third, that nationalism mediates the dialectical relation between national culture and national identity. In the second chapter I critique nationalism on the grounds that underlying every nationalist movement is a universalist project which denies the reality of complex personal identity formation. ;In the third chapter I show that the Traditionalist position seeks to support through curricular control nationalist versions of culture and identity. ;In the fourth chapter I critique Marx's and Mannheim's theories of ideology since they seek to devise methods for evaluating ideology through epistemic standpoints removed from the site of the production of ideology. And thus I conclude this chapter by asserting that in order to be a critic of ideology one must struggle with and acknowledge multiple and complex social identities. ;In the final chapter I defend the claim that nationalist education undermines the process of teaching students to be critics of ideology since such an education prevents students from engaging the complexity of the encounter between the knowing subject and the object of knowledge. Moreover, I argue that a decidedly non-nationalist multicultural education offers the possibility of developing heterogeneous group identity without the deleterious consequences invariably brought forth by nationalism. (shrink)

Philosophers, novelists, and intercultural comparisons : Heidegger, Kundera, and Dickens /​ Richard Rorty Lifeworlds, modernity, and philosophical praxis : race, ethnicity, and critical social theory /​ Lucius Outlaw Modern China and the postmodern West /​ David L. Hall From Marxism to post-Marxism /​ Svetozar Stojanović Incommensurability and otherness revisited /​ Richard J. Bernstein Incommensurability, truth, and the conversation between Confucians and Aritotelians about the virtues /​ Alasdair MacIntyre The commensurability of Indian epistemological theories /​ Karl H. Potter Pluralism, relativism, and (...) interaction between cultures /​ Bimal K. Matilal The problem of relativism /​ Jiang Tianji. Between relativism and fundamentalism : hermeneutics as Europe’s mainstream political and moral tradition /​ Ferenc Feher Conceptual schemes and linguistic relativism in relation to Chinese /​ A.C. Graham The origins of the question : four traditional Japanese philosophies of language /​ Thomas P. Kasulis Meaning as imaging : Prolegomena to a Confucian epistemelogy /​ Roger T. Ames On the dual nature of traditional Chinese thought and its modernization /​ Li Zhilin A planetary macroethics for humankind : the need, the apparent difficulty, and the eventual possibility /​ Karl-Otto Apel Reasonable challenges and preconditions of adjudication /​ Antonio S. Cua The French Revolution and the Holocaust : can ethics be ahistorical? /​ Hilary Putnam Tradition and moral progress /​ Joel J. Kupperman The shape of artistic pasts, East and West /​ Arthur C. Danto. Surrealistic distortion of landscape and the reason of the milieu /​ Megumi Sakabe Why art changes /​ Richard Wollheim The transcendental in a comparative context /​ Frederick J. Streng Reflections on religious pluralism in the Indian context /​ Margaret Chatterjee Three enduring achievements of Islamic philosophy /​ Lenn E. Goodman Two dimensions of religion : reflections based on Indian spiritual experience and philosophical traditions /​ G.C. Pande Between nationalism and nomadism : wondering about the languages of philosophy /​ Graham Parkes The discourse of cultural authenticity : Islamist revivalism and enlightenment universalism /​ Aziz Al-Azmeh Traditional political values and ideas : an examination of their relevance to developments in contemporary African political order /​ Kwame Gyekye On the interpretation of traditional cultures /​ Maria L. Herrera. The concept of progress and cultural identity /​ Roop Rekha Verma Moses, Hsüan-tsang, and history /​ Agnes Heller Secularism : sacred and profane /​ Daya Krishna Scientific progress and content loss /​ Larry Laudan A dialectical view of scientific rationality and progress /​ Marcello Pera Scientific progress reconsidered /​ Ilkka Niiniluoto Does progress in science lead to truth? /​ Lorenz Krüger. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Manos HadjidakisThe Story of an Anarchic Youth and a "Magnus Eroticus"Yiannis MiralisThe name of Manos Hadjidakis is probably unknown to contemporary musicians and music educators. After all, the Greek composer achieved his international fame back in 1961 when he won an Oscar for his soundtrack of the movie, "Never on Sunday." Numerous other awards followed from England, France, Germany, and of course, Greece. After his six years in New (...) York City (1966-1972), the composer returned to Greece where he produced a wealth of diverse musical work and had a profound impact on every aspect of Greek cultural life.Through his radio lectures, the notes on the covers of his records, and his articles in a variety of magazines and newspapers, he expressed his often radical ideas without any fear, but with honesty and passion. His commentaries covered a wide variety of topics such as music, poetry, and the arts, politics and nationalism in art, music education, tradition and change, and the overall cultural problems and dilemmas of his time. The magnitude of his musical and artistic work is yet to be fully discovered and appreciated.In this paper, I will provide a biography of Manos Hadjidakis with a closer [End Page 43] examination and description of his multifaceted work. Through this attempt, a better understanding of who Hadjidakis was and the impact that he had on the musical and cultural life of modern-day Greece will emerge. I decided to use numerous direct quotes from Hadjidakis' books and interviews not only because he eloquently expresses his thoughts and ideas, but also because through these quotes one can get a clear sense of his humor, intellect, and personality. This paper may also serve as food for thought for music educators in and outside of Greece. I say this because much of his work and thought remains unknown to the general public, as well as to music performers and educators. Unfortunately, to some extent this is true even in his own home country of Greece. Even though Hadjidakis was not a music educator in the specific sense of the term, many of the things that he fought for and achieved in his life had an identifiable educational component in them. For example, before each of the performances of the Orchestra of Colors that he founded and conducted, Hadjidakis always gave elaborate lectures on the composers and on the works to be performed at the amphitheatre of the Medical School of the University of Athens. Overall, if we use the Oxford English Dictionary's definition of "education" as "culture or development of powers, formation of character, as contrasted with the imparting of mere knowledge or skill,"1 Hadjidakis can be regarded as a true educator and many of his ideas have a direct implication for music education and education in general. This is what I will examine in the second part of this paper, focusing especially on his ideas on Eros and the importance of song.Hadjidakis' ChildhoodHadjidakis was born on October 23, 1925 in the city of Xanthi in northern Greece. The city was thriving due to the local cultivation and sale of tobacco. His father was a tobacco merchant and his family was initially well off and able to pay for his piano lessons. After the death of his father in 1931, when Hadjidakis was only six years old, the family moved to Athens where he attended high school at nighttime, while working various jobs during the day.During World War II Hadjidakis became involved in a number of political organizations and simultaneously took lessons in diction in order to realize his dream of becoming an actor. However, because he had difficulty pronouncing the letter "r," he had to turn his attention and creativity away from acting and in a different direction. Additionally he received some formal training in classical music, but according to his own words,[m]y relationships with formal music studies were extremely similar to my relationships with dentists; I always approached them and always left them before the end of the treatment. When I was eighteen years old I gave up [End Page 44] music and I surrendered myself to poetry. When... (shrink)

The work of the contemporary French philosopher Jean-Luc Nancy has impacted across a range of disciplines. His writings on psychoanalysis, theology, art, culture and, of course, philosophy are now widely translated and much discussed. His L'Experience de la Liberte is considered to be one of the landmarks of contemporary continental philosophy. Jean-Luc Nancy and the Future of Philosophy is the first genuine introduction to Nancy's ideas and a clear and succinct appraisal of a burgeoning reputation. The book summarises topically the (...) primary conceptual areas of Nancy's thought and explores its relevance for contemporary issues like nationalism, racism and media rights. Nancy's indebtedness to Nietzsche, Heidegger, and Bataille is examined as well as how his ideas compare to those of his contemporary continental thinkers. Three major areas of Nancy's work are emphasised: freedom and morality; community and politics; and arts and the media. The reader is guided through a chosen theme without being lost in a welter of allusive language, jargon is avoided where possible and when unavoidable it is clearly explained. The book concludes with a new interview with Nancy, which discusses the future of philosophy. The book will be an important addition to the readings lists for courses on contemporary continental thought and political philosophy. (shrink)

Nation and Aesthetics shows curious connections between nationalism and aesthetics through examining various fields such as art, language, and religion. This connection is not accidental, but inherent. Nation connects capitalism and the state, thus creating the problematic modern social formation of capital-nation-state.

The work of the contemporary French philosopher Jean-Luc Nancy has impacted across a range of disciplines. His writings on psychoanalysis, theology, art, culture and, of course, philosophy are now widely translated and much discussed. His L'Experience de la Liberte is considered to be one of the landmarks of contemporary continental philosophy. Jean-Luc Nancy and the Future of Philosophy is the first genuine introduction to Nancy's ideas and a clear and succinct appraisal of a burgeoning reputation. The book summarises topically the (...) primary conceptual areas of Nancy's thought and explores its relevance for contemporary issues like nationalism, racism and media rights. Nancy's indebtedness to Nietzsche, Heidegger, and Bataille is examined as well as how his ideas compare to those of his contemporary continental thinkers. Three major areas of Nancy's work are emphasised: freedom and morality; community and politics; and arts and the media. The reader is guided through a chosen theme without being lost in a welter of allusive language, jargon is avoided where possible and when unavoidable it is clearly explained. The book concludes with a new interview with Nancy, which discusses the future of philosophy. The book will be an important addition to the readings lists for courses on contemporary continental thought and political philosophy. (shrink)

In the Olympic Art Competitions (1912–1948) Pierre de Coubertin expresses his conception of both sport and art as instruments of moral renewal. In this paper, this conception is criticised for failing to appreciate art and sport as necessary manifestations of modernism. The Art Competitions were informed by a traditionalist aesthetic, and thus played a highly conservative role within Olympism. A modernist art about sport, in contrast, would have been a source of critical reflection, potentially protecting the Olympic movement from corrupting (...) exploitation by commercial and nationalistic interests. The conclusion defends the need for Cultural Olympiads, as a source of such critical reflection, that are at once modernist in conception and yet, unlike their current expression, are centrally about sport. (shrink)

An illustrated study of the early twentieth-century transformation from Expressionism to Constructivism and beyond in the Central European arts. Central European Avant-Gardes presents the first interpretive overview of the complex webs of interaction among the artists and intellectuals of early twentieth-century Central Europe. The key stylistic transformation of the period was from Expressionism to Constructivism, as artists and writers, against a volatile background of war and revolution, saw the opportunity literally to construct a new world through their work. The borders (...) between the visual arts, photography, film, architecture, poetry, and typography were obliterated, as artists sought to transcend the forces of traditionalism to forge an elemental visual language that would overcome national and linguistic boundaries. Yet at the same time that these artists advocated pluralism and unity, their work engaged issues such as nationalism and tradition that still resonate in artistic circles today. The book, which accompanies a major exhibition organized by the Los Angeles County Museum of Art and curated by Timothy Benson, assisted by Monika Krol, is arranged around events and situations rather than by linear, art historical categories. It features hundreds of color plates and reproductions of documents; discussions of movements from Artificialism to Zenitism; essays on figures, publications, and exhibitions; and shorter "city views" of Belgrade, Berlin, Bucharest, Budapest, Cracow, Dessau, Ljubljana, £ódz, Poznañ, Prague, Vienna, Warsaw, Weimar, and Zagreb. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.4 (1999) 116-127 [Access article in PDF] Authority, Solidarity, and the Political Economy of Identity: The Case of the United States David A. Hollinger Theorists of nationalism tend to circle around the United States like boy scouts who have spotted a clump of poison oak. The nationalism of the United States has figured small in the robust and wide-ranging discourse about nationalism that has involved (...) sociologists, historians, political scientists, philosophers, and literary scholars during the past two decades. Although there are significant exceptions to this pattern of avoidance--David Miller and Liah Greenfeld are convenient examples--several prominent cases illustrate the pattern. The United States is mentioned in only a single footnote in Ernest Gellner's Nations and Nationalism. The United States is given short shrift in three of the most important collections of the 1990s: Homi Bhabha's Nation and Narration, John Hutchinson and Anthony D. Smith's Nationalism, and Geoff Eley and Ronald G. Suny's Becoming National. Montserrat Guibernau mentions the United States only twice, and in passing, in her Nationalisms: The Nation-State and Nationalism in the Twentieth Century. The United States gets less attention than Canada and the Ukraine in John A. Hall's rich, state-of-the-art collection of 1998, The State of the Nation. Ronald Beiner's Theorizing Nationalism has much more to tell us about Quebec than about the United States, which is alluded to even in passing by only half the contributors to this valuable anthology of 1999. That "nationalism is unknown" in the United States is claimed by Elie Kedouri, even in the fourth edition of his classic text Nationalism [143]. But the most interesting case of all is that of nationalism's most creative and influential theorist, Benedict Anderson.Anderson provides only episodic treatment of the United States while discussing "creole nationalism" in his influential book Imagined Communities. To be sure, Anderson's demonstration of the similarities between a large number of similarly situated, comparably developing national projects among creole populations in the New World is no cause for complaint. It is a signal contribution, and still insufficiently absorbed by a persistently Europe-centered discourse about nationalism. Anderson's recent book, The Spectre of Comparisons, also deals episodically with the United States, which Anderson now tells us explicitly has proved "too sui generis for ready-to-hand" [336] comparisons with other national projects in the Western Hemisphere. Most of Spectre of Comparisons is about Southeast Asia, just as the preponderance of Imagined Communities is about Latin America. Fair enough. [End Page 116]My point is not to find fault with Anderson for being an Area Studies specialist in so many areas of the world outside the United States. Nor do I have any significant quarrel with what little Anderson does say about the United States. What is worth remarking upon is simply that even the least Eurocentric of our era's leading theorists of nationalism in general has emerged not from the study of the United States, but from the study of Southeast Asia and Latin America. This is less a comment about Anderson than about the class of theorists of which he is a member. The scholars whose careers focus on the United States are "area studies specialists" of a kind, but few of them have intervened tellingly in the cross-disciplinary discussion of nationalism. One who did was the historian David Potter, whose still-powerful article "Historian's Use of Nationalism and Vice Versa" was published nearly forty years ago but is rarely cited today.The poison oak effect among theorists of nationalism would not be worthy of notice were it not for one fact that might be expected to attract rather than repel these theorists: the United States is the most successful nationalist project in all of modern history. What makes it "successful" is its longevity, its absorption of a variety of peoples, and its sheer power. Two-and-one-quarter centuries after its founding and 135 years after its Civil War, it is by far the most powerful nation-state... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 483-500 [Access article in PDF] Greek Origins and Organic Metaphors: Ideals of Cultural Autonomy in Neohumanist Germany from Winckelmann to Curtius Brian Vick That the educated classes of late eighteenth- and nineteenth-century Germany were increasingly captivated by images of both nationality and Greek antiquity is a fact long noted and long puzzled over. This seemingly strange confluence of cultural tendencies does, (...) however, help explain why studying the drawn-out debates among German neohumanist scholars on the cultural origins of the Greeks ultimately offers a fresh perspective on certain problems of German national identity—in this case, on the ambivalent relationship to things foreign in that period of German history.Scholarly attention has recently been drawn to this question as part of the conflict over Martin Bernal's Black Athena, the first volume of which argued that nineteenth-century German classicists' denial of an Egyptian contribution to early Greek cultural development revealed their xenophobic tendencies. While Bernal pointed to racism as the prime motive for this repudiation of African and later of Semitic influence on the Greeks, he also invoked several of the other "-isms" that have proven so fruitful yet confusing for efforts to understand the intellectual and cultural climate of late eighteenth and early nineteenth-century Germany: romanticism, historicism, organicism, and of course neohumanism. 1 [End Page 483]The present essay is not intended to be another of the past decade's many responses to Bernal. Attention must be paid to that discussion, but it is important to recognize the extent to which this debate reflects a much broader disagreement about German attitudes in the romantic and nationalist eras. Some scholars portray the more cosmopolitan side of the romantic inheritance and stress its continued fascination with foreign literatures and cultures. Others, however, seem more like Bernal in citing the historicist turn to nature and nationality either to illustrate or to explain an alleged German xenophobia and hypersensitivity to issues of ethnic and cultural purity. 2It is to this wider question of the cultural legacy of German classicism and romanticism, historicism and organicism, that I would like to direct attention in this essay. Rather than invoking these "-isms" in an effort to explain the various positions taken in the debate about Greek origins, I hope to reverse the process and examine the relevant texts in an effort to clarify the broader implications of these issues of cultural purity and cultural borrowing, from the time of Winckelmann's first assertion of Greek originality through the rise of new kinds of nationalism and racism in the Wilhelmine era. 3 I shall show that belief in the importance of Greek civilization's Asian and even Egyptian cultural heritage remained strong for decades, even after Karl Otfried Müller's seemingly definitive rejection of such a connection in the 1820s. Moreover, most of the figures engaged on both sides of the debate made remarkably similar use of historicizing organic metaphors to help reconcile the twin values of national autonomy and cultural transmission, both so central to the self-conception and national identity of the German Bildungsbürgertum in this period. Continuity and connection with the environment, not purity and isolation from it, were the hallmarks of such organicist thinking across a wide spectrum of romantic, neohumanist, and idealist commentators. Only in the second half of the nineteenth century, with the passing of romantic values, the transformation of historicism into historicist positivism, and the development of new meanings attached to images of biology and race, would this situation slowly begin to change. The Greeks, History, and Culture: Foundational Perspectives Many of the considerations central to discussions about the origins of the Greeks and about the role of cultural mixing generally can be seen in the debate's [End Page 484] two most important early statements, the denial of Egyptian influence by Johann Joachim Winckelmann in his History of Ancient Art of 1764 and the successive sharp critiques of this view by an otherwise admiring Johann Gottfried... (shrink)

Philipp Otto Runge (1777-1810) was a leading German Romantic artist whose iconography represents a transition from the Neoclassical iconography of classical mythology and allegory to an abstract semiotic system of signs based on a mystical interpretation of nature. An admirer of Herder's theory of language, Runge's iconography was representative of a trend among Romantic artists to promote nationalism and cultural values through the implementation of formal epistemological systems in the medium of art. Runge's individual iconography reveals a synthesis of (...) rational and mystical systems of knowledge that emphasizes Herder's concept of the German Volk as a unique cultural identity, and presents an analogy between the creation of the cosmos, the organic origins of language, and the conception of the German Volk. Runge's iconography expresses the nationalist sentiments and linguistic theory of Herder that formed the basis of German propaganda movements during the Wars of Liberation, 1807-1815. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

The purpose of this paper is to trace the American Society for the Control of Cancer's (ASCC) influence on the Portuguese Institute of Oncology's (IPO) Bulletin. The time period featured is from 1934 to 1940, which spans the first two decades of the newly formed Portuguese dictatorship, known as the Estado Novo (1933–1974). The analysis of the ASCC's “imprint” on the IPO's Bulletin aims to shed new light on how American culture influenced Portugal, from its first appearance at the beginning (...) of the 20th century. It brings together the disciplines of history of science and history of art and visual studies, in order to analyse these campaigns' strategic relationship with their “patients and contributors to be.” The public is encouraged by this means not only to seek timely assistance, but also to participate financially in the “cancer cause.” This is achieved by means of international consumer culture media in everyday forms, such as film, adverts in written form, and exhibitions publicising the cause. Lastly, this analysis approaches transnationalism, modernism, and the scientific nature of the Estado Novo's nationalism from new and innovative angles, allowing for a “rethinking” of said nationalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Freud between Oedipus and the Sphinx MIRIAM LEONARD Areproduction of Jean-Auguste-Dominique Ingres’s neo-classical painting Oedipus and the Sphinx famously hung over Freud’s couch in his consulting room at Berggasse 19 [figure 1]. Nobody doubts the significance of the figure of Oedipus to the development of Freud’s thought, arion 28.3 winter 2021 Jean-Auguste-Dominique Ingres, (1780–1867). Oedipus and the Sphinx, 1808. Oil on canvas. Photo Credit : Scala/ Art Resource, NY. (...) 132 freud between oedipus and the sphinx but the presence of the Sphinx in this picture raises a series of questions about Freud’s interests which have not been as extensively explored. Indeed, this is far from being the only depiction of the Sphinx which graced Freud’s study. A large etching of the Sphinx at Giza was displayed amongst his bookshelves and a terracotta figurine was amongst his most prized objects.1 These representations of the Sphinx testify to Freud’s broader fascination with Egyptian culture—a fascination which, as we have seen, manifests itself both in his writings and his collection of antiquities. Judith Butler and George Steiner have wondered: “what would happen if psychoanalysis were to have taken Antigone rather than Oedipus as its point of departure?”2 I want to reformulate their question to ask, what would happen if Freud had taken the Sphinx rather than Oedipus as his point of departure? With this counterfactual, I hope to deepen the exploration already undertaken in the previous two articles about Egypt as an origin myth for psychoanalysis—an origin both for the development of the self and for the history of humanity. One possibility, suggested by Edward Said in his last work, Freud and the Non European, is that Freud’s turn to Egypt opened psychoanalysis to a less Eurocentric perspective. For Said, Freud’s foregrounding of Egypt and his interest in the crossover of “non-European” and “European ” cultures testified to his openness and his frustration with the nationalist and racist theories which were so prevalent at the end of his life.3 Said’s claims are compelling but as he would have been the first to note, Freud’s Egyptomania could equally be captive to orientalizing fantasies.4 In what follows I trace the evidence for Freud’s fascination with Egypt and, reading it hieroglyphically (as he would invite us to do), I speculate about its possible impacts on psychoanalysis as art and / or science. Ingres’s first version of Oedipus and the Sphinx—the painting whose reproduction Freud displayed—was completed in 1808. Ingres originally painted the picture in Rome where Miriam Leonard 133 he was studying at the French Academy. In common with other students at the academy, Ingres was required to produce figure studies and the original version of this painting was focused on Oedipus and the representation of his bodily form. Ingres had asked his model to use the same pose as the classical statue of Hermes with the Sandal which is displayed in the Louvre. As François de Vergnette writes: “The clarity of the contours, the muted use of chiaroscuro and the slight surface relief given to the figure of Oedipus add an archaic flavor to the picture. This archaism had its roots in Ingres’s taste for Greek vases.”5 But it is the impact of a different Mediterranean culture which can be felt in Ingres’s depiction of Oedipus’ counterpart. While Oedipus embodies the Winckelmannian Hellenic ideal, the Sphinx is represented in all her oriental glory. Ingres painted this image just ten years after Napoleon had lead his troops and “savants” into Egypt. Napoleon’s Egyptian Campaign gave rise to a widespread fascination with ancient Egyptian culture and its impact on the arts was immense. In choosing to represent Oedipus in his encounter with the Sphinx, Ingres was able to draw on this new aesthetic of orientalism.6 Even before Napoleon ’s expedition, the Sphinx had become a potent visual representation of the mystery of ancient Egypt and of ancient Egypt as mystery. Ingres reworked this image during the course of his career and gave the Sphinx an ever greater prominence. In Ingres ’s depiction, the Sphinx’s orientalism... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 3-11 [Access article in PDF] A Historical Overview of Art Education in Japan Introduction The stage of art education in Japan that was given its form by "imports" from overseas — mainly Western countries — is now over. Recently, even at international art education conferences and similar venues, a wide range of dynamic presentations and speeches were heard representing Japan's unique perspective. (...) There is, however, a rather long and involved history leading up to this shift.In this essay, I present a general outline and an overview of art education in Japan, by looking back at the transitions this system of education has undergone. My hope is to increase understanding of the unique features of art education in Japan, examining the characteristics ofmodern art education, and determining the form that art education should take in the future. The Birth of Art Education: 1872-1910 Art education in Japan began in 1872 with the promulgation of the "Gakusei" as a formal system for school education. 1 It was in this same year that Germany introduced a similar system, an indication that Japan was more or less in step with advanced Western nations. Moreover, from the end of the Tokugawa shogunate through to the Meiji era (1868-1912), the seeds of Westernization had clearly taken root. Although the term "art education" is used, for many years the emphasis in art education was on drawing.The first curriculum was established at this time. In the context of art education, Kikagaku Keiga Taii [Introduction to Geometrical Line Drawing] (renamed Keiga the following month) was introduced as a compulsory subject in upper elementary grades (students 10 to 13 years of age) at ordinary elementary schools. Keiga referred to a method of copying pictures from a copybook using graph paper — a method that was extremely restrictive and emphasized practicality.By 1887, under the new government's policy, Westernization was being promoted in all aspects of society, including politics and culture. Art education was no exception, as Western style education began to focus on pencil drawings. During this period, a liberal system for issuing and selecting textbooks was in place, and a consequently a large number of art-related texts were issued. The first drawing textbook in Japan was Seiga Shinan [Guide to [End Page 3] Western Pictures] (1871), a translation of "The Illustrated Drawing Book" by English author Robert Scott Burn, with selected figure quotations from"The American Drawing-Book" by American author John G. Chapman. 2 In addition to these texts, many other books on drawing and the natural sciences were quoted. These textbooks adopted a pragmatic approach, using a "progressive method" in which students were taught to draw easy subjects and gradually moved to more difficult ones.The next significant change came in the form of calls for nationalism, as a reaction to the wave of Westernization early in the Meiji period. Educationalcircles underwent a shift toward nationalist education, and the art worldexperienced a resurgence in traditional Japanese art led by the American Ernest Fenollosa and Tenshin Okakura, among others. Reflecting this trend, a large number of brush painting textbooks were written, and an authorization system similar to the one currently in effect was adopted. The ZugaTorishirabe Gakari [the Committee for the Study of Drawing] was launched in 1885, and then reorganized in 1887, at which time it was renamed the Tokyo Fine Arts School (currently the Tokyo National University of Fine Arts and Music). The education offered at this new institution placed a strong emphasis on purely Japanese elements.In 1903, the Elementary School Order was revised and government-designated textbooks were issued. This system remained in force from 1904 until 1947. The debate surrounding pencil drawing and brush painting continued, and two types of texts were issued — a Enpitsuga Tehon [pencil drawing copybook] and a Mohitsuga Tehon [brush painting copybook] — either of which could be used by the instructor. Both copybooks had similar configurations, with copying as the basic theme, and using a progressive study method. Drawing was still an optional subject in ordinary elementary schoolsat the... (shrink)

How can we rethink anthropology beyond itself? In this book, twenty-one artists, anthropologists, and curators grapple with how anthropology has been formulated, thought, and practised 'elsewhere' and 'otherwise'. They do so by unfolding ethnographic case studies from Belgium, France, Germany, Italy, the Netherlands, and Poland - and through conversations that expand these geographies and genealogies of contemporary exhibition making. This collection considers where and how anthropology is troubled, mobilised, and rendered meaningful. 'Across Anthropology' charts new ground by analysing the convergences (...) of museums, curatorial practice, and Europe's reckoning with its colonial legacies. Situated amid resurgent debates on nationalism and identity politics, this book addresses scholars and practitioners in fields spanning the arts, social sciences, humanities, and curatorial studies."--Page 4 of cover. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Manos HadjidakisThe Story of an Anarchic Youth and a "Magnus Eroticus"Yiannis MiralisThe name of Manos Hadjidakis is probably unknown to contemporary musicians and music educators. After all, the Greek composer achieved his international fame back in 1961 when he won an Oscar for his soundtrack of the movie, "Never on Sunday." Numerous other awards followed from England, France, Germany, and of course, Greece. After his six years in New (...) York City (1966-1972), the composer returned to Greece where he produced a wealth of diverse musical work and had a profound impact on every aspect of Greek cultural life.Through his radio lectures, the notes on the covers of his records, and his articles in a variety of magazines and newspapers, he expressed his often radical ideas without any fear, but with honesty and passion. His commentaries covered a wide variety of topics such as music, poetry, and the arts, politics and nationalism in art, music education, tradition and change, and the overall cultural problems and dilemmas of his time. The magnitude of his musical and artistic work is yet to be fully discovered and appreciated.In this paper, I will provide a biography of Manos Hadjidakis with a closer [End Page 43] examination and description of his multifaceted work. Through this attempt, a better understanding of who Hadjidakis was and the impact that he had on the musical and cultural life of modern-day Greece will emerge. I decided to use numerous direct quotes from Hadjidakis' books and interviews not only because he eloquently expresses his thoughts and ideas, but also because through these quotes one can get a clear sense of his humor, intellect, and personality. This paper may also serve as food for thought for music educators in and outside of Greece. I say this because much of his work and thought remains unknown to the general public, as well as to music performers and educators. Unfortunately, to some extent this is true even in his own home country of Greece. Even though Hadjidakis was not a music educator in the specific sense of the term, many of the things that he fought for and achieved in his life had an identifiable educational component in them. For example, before each of the performances of the Orchestra of Colors that he founded and conducted, Hadjidakis always gave elaborate lectures on the composers and on the works to be performed at the amphitheatre of the Medical School of the University of Athens. Overall, if we use the Oxford English Dictionary's definition of "education" as "culture or development of powers, formation of character, as contrasted with the imparting of mere knowledge or skill,"1 Hadjidakis can be regarded as a true educator and many of his ideas have a direct implication for music education and education in general. This is what I will examine in the second part of this paper, focusing especially on his ideas on Eros and the importance of song.Hadjidakis' ChildhoodHadjidakis was born on October 23, 1925 in the city of Xanthi in northern Greece. The city was thriving due to the local cultivation and sale of tobacco. His father was a tobacco merchant and his family was initially well off and able to pay for his piano lessons. After the death of his father in 1931, when Hadjidakis was only six years old, the family moved to Athens where he attended high school at nighttime, while working various jobs during the day.During World War II Hadjidakis became involved in a number of political organizations and simultaneously took lessons in diction in order to realize his dream of becoming an actor. However, because he had difficulty pronouncing the letter "r," he had to turn his attention and creativity away from acting and in a different direction. Additionally he received some formal training in classical music, but according to his own words,[m]y relationships with formal music studies were extremely similar to my relationships with dentists; I always approached them and always left them before the end of the treatment. When I was eighteen years old I gave up [End Page 44] music and I surrendered myself to poetry. When... (shrink)