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This case-study investigates whether it is valid to argue that the museological practices of the Asian Civilisations Museum (ACM), as manifested in the exhibition The Peranakan Legacy (1999–2006) and in the subsequent Peranakan museum (2008 to present), are limited to projecting officially endorsed storylines, or whether the museum has been able to portray multiple stories about the Peranakan community and their material culture. Drawing on Pierre Bourdieu's theoretical framework, the study considers the genesis and context of the ACM within the social structures in which it operates. This approach allows for consideration of the generative reproduction of Singapore's colonial structures, such as the prevailing doxa on race, manifested in the organising principle of the ACM's Empress Place Museum with its racially defined galleries addressing Chinese, Malay/Islamic and Indian ancestral cultures.Analysing the ACM as a field in which the curatorial team (informed by their habitus) in combination with various forms of capital are at play, exposes the relationships between macro structures (state policy and economic drivers) and the micro operations (day-to-day decisions of the curatorial team at work on Peranakan exhibitions). Through this analysis the study argues that the Peranakans' refusal to support Singapore's bid to join the Malay Federation resulted in their political and cultural marginalization. However, the Peranakan community's legacy, consisting of unique, internationally prized material artefacts, presented ACM museum professionals with a compelling case to promote the community in this state-run museum. The study asserts that through these ACM exhibitions ACM museum professionals effectively repositioned the once disgraced Peranakan community in multiple ways: tentatively as an invaluable aspect of Singapore national cultural capital, as a galvanising symbol to encourage greater harmony between Singapore's distinct racial groups and confidently as the source of a depoliticized collection of aesthetic artefacts within a newly defined canon of Southeast Asian art.

Chinese traditional art is an important source of contemporary arts and crafts practice, for the study of excellent traditional visual art can promote the creative transformation of contemporary arts and crafts and innovative invention, enhance cultural confidence. Pang XunQIN OPENED UP THE MODERN PAINTING WITH national characteristics and extended the decorative painting to the decorative art of arts and crafts, which complied with the needs of The Times and society. To be able to follow the path he explored would go a long way toward reshaping the contemporary values of arts and crafts. This paper tries to sum up three transformation roads of arts and crafts that adapt to the contemporary social life by appreciation and analysis of Mr. Pang Xunqin's creation thought sources and works, so that the technology and art show a new look that conforms to its native environment and development process under the "modern" life background, so that the Chinese excellent traditional culture can glow with vitality.

The present study understands comedy in relation to the Holocaust as an attempt by Germany's third and fourth generations to create alternative forms of commemoration. Analyzing the country's history of coming to terms with the Shoah, it highlights that recent forms of subversive satire are reacting to a crystallization in official memory politics through counter-discourse to political correctness and the defenders of moralism. The article finds that it is possible to combine comedy and Holocaust memory if Jewish victimhood is not spoofed and the limitations of official memory politics are debunked. Finally, it contends that not every historical assessment based on a local/national context can serve as a global blueprint. The recognition of national historical guilt and the establishment of distinct collective memories are still crucial for understanding specific pasts. Accordingly, German popular culture referring to the Nazi past differs from u.s. comedy dealing with the Holocaust.

"This book brings together the surviving texts of the 113 talks on art and architecture that we know of, given by the art historian Sir Nikolaus Pevsner on radio and television over a 37-year period between 1945-1977. It includes the seven texts of the 1955 Reith Lectures in their original broadcast form, as well as lectures that Pevsner gave in German (for the BBC in London and RIAS in Berlin) and on the radio in New Zealand"--Publisher's description

Frontiers of Screen History provides an insightful exploration into the depiction and imagination of European borders in cinema after World War II. The editors and authors bring forward the geopolitical issues at the basis both the films of world-wide distribution, known to many, and others, shot within confining conditions or inhighly local places, remain unknown within prevailing canons

Studies of contemporary visual art in the Middle East are scarce compared with the vast literature on historical Islamic arts. In the past ten years, however, several notable books and articles have featured this important but under-recognized realm of visual culture in the region. These recent works often examine the ways in which art reflects social trends such as nationalism and struggles for religious identity. Karnouk's book is a worthy introduction to the world of contemporary art in Egypt, and is the first major English-language book of its kind on the subject (see also Wijdan Ali, Modern Islamic Art: Development and Continuity [Gainesville: University Press of Florida, 1997]). Contemporary Egyptian Art is a sequel to Karnouk's earlier Modern Egyptian Art: The Emergence of a National Style (Cairo: American University in Cairo Press, 1988), in which she outlined the prominent artists and styles of the first half-century of the modern art movement within the context of Egyptian nationalism. This recent book picks up from the 1952 revolution and presents the major trends in art since that time while offering possible socio-political explanations for these trends.