Suchergebnisse

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.

Lovell reviews SMALL WELL LANE: A Contemporary Chinese Play and Oral History by Li Longyun and translated and edited by Hong Jiang and Timothy Cheek.

Frech, Hanspeter: Postkarten 1933-1945 aus oder zu NS-Lagern aller Art im damaligen Rahmen der allgemeinen Postversorgung, herausgegeben im Selbstverlag, 2020, A4-Format, Hardcover, 468 S. mit zahlreichen farbigen Abbildungen von Belegen, die kommentiert sind. Nach einer Einführung in die grundlegenden postalischen und politischen Gegebenheiten werden die einzelnen Lagertypen im Reich und im Ausland vorgestellt. Leseprobe im Internet vorhanden.

The article discusses the coverage of the subject of the Holocaust in contemporary Russian textbooks on history of Russia and world history in accordance with certain substantive and methodological lines.

This theoretical work explores the meanings of leisure in the context of social and cultural formations of our time as well as works of art which portray leisure activities in their narrative. The work is divided into two parts: the first part discusses the idea of social leisure and its stages throughout the history. The second part analyses the concept of leisure in art and is represented in five chapters: pleasure meaning in leisure activity, casual leisure, gender and leisure experience, ethnicity and leisure experience and virtual leisure. This part concentrates more on leisure portrayal in art and discusses artist's relation to cultural leisure experience. The purpose of this work was to find out how different cultural, ethnical and political society tradicions influence leisure activity and how artists represent that heritage in their artwork. The work also addresses the virtual reality aspect and new technological side of contemporary art. The theoretical work comes to the conclusion that the socio-cultural aspects of living society have a main input in formatting leisure based activities and influence art, especially which portrays leisure experience. This observation also showed that artists either represent the individual metaphysical relation to ethnical society or criticize the global consumer culture in their leisure narrative based works. When portraying leisure activities, artists are influenced by their own experience which is formed by ethnical and cultural identity.

UID/PAM/00417/2019 PTDC/ART-HIS/29837/2017 ; Portuguese art history experienced remarkable development after World War II, especially with the work of José-Augusto França, who was responsible for establishing a historiographic canon for nineteenth- and twentieth-century Portuguese art that still endures. José-Augusto França developed a narrative that held Paris up as an artistic and cultural role model in relation to which he diagnosed a permanent delay in Portuguese art. This essay analyses França's idea of belatedness in the context of Portuguese art historiography and political history and how it is part of a genealogy of intellectual thought produced in an imperial context, revisiting previous art historians and important authors, such as Antero de Quental and António Sérgio. Moreover, it aims to address how the concept of belatedness was associated with the idea of "civilisation" and the idea of "art as civilisation." Belatedness also has implications in the constraints and specificities of writing a master narrative in a peripheral country – a need particularly felt in the second half of the twentieth century, to mark a political standpoint against the dictatorship that ruled from 1926 to 1974. Part of the reaction to fascism expressed the desire to follow other nations' democratic example, but the self-deprecating judgements on Portuguese art were frequently associated with the identification of essentialist motifs – the "nature" of the Portuguese people, their way of thinking, of living, their lack of capacities or skills – and of a self-image of being "primitive" in comparison with other European countries that has antecedents going back to the eighteenth century. I will address the nostalgia for the empire and the prevailing notion of belatedness throughout the twentieth century regarding unsolved issues with that nostalgia. ; publishersversion ; published

Frontmatter -- Contents -- Introduction -- 1. Energy and Population -- 2. Climate and Biological Diversity -- 3. Cities and the Economy -- 4. Cold War and Environmental Culture -- Conclusion -- Notes -- Selected Bibliography -- Acknowledgments -- Index

Iran's public sphere has been segregated along gender lines since the Islamic Revolutionin 1979 and is regularly policed by the Ministry of Culture and Islamic Guidance. Thisarticle considers the ways in which the resulting homosocial spaces appear in the worksof contemporary artists working in Tehran. Looking at video and photographic worksby three Iranian artists, I argue that contemporary art is hyper aware of being undersurveillance and addresses itself to multiple viewers. I bring queer viewing strategiesas a method of viewing these artworks in order to point to the continuum betweenhomosocial and homoerotic spaces that permeate contemporary Iranian art.