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This experimental essay attempts to show how alternative methods and approaches are valuable in interrogating the ways in which orthodox theories of international relations (IR) approach peace. Drawing on a broad variety of critical traditions, it seeks to encourage the development of creative and experimental interdisciplinary approaches as well as to underline the deficiencies of more instrumentalist theories and methods. It especially tries to show how eclectic and experimental theories and methods produce sophisticated insights that are capable of reorienting analysis so as to respond to dynamics that must be understood if sustainable and multiple variations of peace are to emerge.

In the wake of the first World War, art rejected political and social values. This subversion of all authority gave many art scenes a uniquely anarchistic tone which is exhibited in their artwork. Edwards Bello scene is the Revolt of the Lash, a naval mutiny he witnessed in Rio de Janeiro (1910). ; En vísperas de la Primera Guerra Mundial, el arte impugnó valores políticos y sociales. Esa subversión de cualquier autoridad otorgó a muchas escenas artísticas un tono dominantemente anarquista que se manifiesta en cada obra. La escena de Edwards Bello es la Revuelta del Latigazo, un motín naval que él presenció en Rio de Janeiro (1910).

First play, then war, fear and drugs and now: luxury -- Anthropology and the idea of self-experience -- Aesthetics and the search for moments of self-experience -- Luxury: the Dadaism of possession -- The judgment of luxury -- Luxury: a special aesthetic experience -- Why luxury?

In this essay, Scrap explores the connection between famous nihilist and postmodernist theorists, Dadaism, the concept of the anti-aesthetic, and today's high fashion. They provide a history of nihilism and follow its influence through time upon other social, political, and artistic movements. They then make direct connections between famous theorists' prose and famous fashion designers' collections. Finally, they analyze the current state of the fashion world and discuss their plan of action.

International audience ; Despite being increasingly widely disseminated, twentieth-century caricature has only recently been integrated into art history's scope of study. It was long considered biased and utilitarian, unrewarding and regressive, and lacking in artistic worth. Cultural historians, sociologists, anthropologists, political scientists, and semiologists were therefore the first to make use of caricature as an archival source or document, but without studying its graphic structure or its symbolic vocabulary. Over the past twenty years, however, and in keeping with approaches first developed by Ernst Gombrich, Ernst Kris, Werner Hofmann and Michel Melot, a number of studies have appeared on twentieth-century caricature and its mechanisms and uses viewed from the standpoint of esthetics. In keeping with postmodernist thought, it is now necessary to evaluate the formal and expressive vocabulary adopted by artists according to a dual process of transference and deterritorialization, independently of caricature's initial humoristic and polemical functions. ; L'histoire de l'art n'a que tardivement intégré la caricature du xxe siècle dans son champ d'étude, en dépit de sa diffusion croissante. Cet objet a longtemps passé pour partisan et utilitaire, ingrat et régressif, sans grande valeur artistique. Les historiens – des sensibilités et de la culture –, les sociologues, les anthropologues, les politistes et les sémiologues ont donc été les premiers à l'interroger comme archive ou document, mais sans toujours s'intéresser à sa structure graphique ou à son imaginaire symbolique. Depuis une vingtaine d'années, dans la lignée des approches initiées par Ernst Gombrich, Ernst Kris, Werner Hofmann ou Michel Melot, des travaux sont consacrés à la caricature du xxe siècle, à ses mécanismes et ses fonctions d'usage, dans une perspective esthétique. En écho aux propositions post-modernes, il convient désormais d'en évaluer le langage formel et expressif qu'adoptent les artistes, selon un double processus de ...

International audience ; Despite being increasingly widely disseminated, twentieth-century caricature has only recently been integrated into art history's scope of study. It was long considered biased and utilitarian, unrewarding and regressive, and lacking in artistic worth. Cultural historians, sociologists, anthropologists, political scientists, and semiologists were therefore the first to make use of caricature as an archival source or document, but without studying its graphic structure or its symbolic vocabulary. Over the past twenty years, however, and in keeping with approaches first developed by Ernst Gombrich, Ernst Kris, Werner Hofmann and Michel Melot, a number of studies have appeared on twentieth-century caricature and its mechanisms and uses viewed from the standpoint of esthetics. In keeping with postmodernist thought, it is now necessary to evaluate the formal and expressive vocabulary adopted by artists according to a dual process of transference and deterritorialization, independently of caricature's initial humoristic and polemical functions. ; L'histoire de l'art n'a que tardivement intégré la caricature du xxe siècle dans son champ d'étude, en dépit de sa diffusion croissante. Cet objet a longtemps passé pour partisan et utilitaire, ingrat et régressif, sans grande valeur artistique. Les historiens – des sensibilités et de la culture –, les sociologues, les anthropologues, les politistes et les sémiologues ont donc été les premiers à l'interroger comme archive ou document, mais sans toujours s'intéresser à sa structure graphique ou à son imaginaire symbolique. Depuis une vingtaine d'années, dans la lignée des approches initiées par Ernst Gombrich, Ernst Kris, Werner Hofmann ou Michel Melot, des travaux sont consacrés à la caricature du xxe siècle, à ses mécanismes et ses fonctions d'usage, dans une perspective esthétique. En écho aux propositions post-modernes, il convient désormais d'en évaluer le langage formel et expressif qu'adoptent les artistes, selon un double processus de translation et de déterritorialisation, indépendamment de ses vocations comiques et polémiques initiales.

A crucial problem in recent scholarship on the so called "historical" avant-gardes from the first decades of the 20th century (Futurism, Dadaism, Constructivism etc.) is how to account for the political radicalism and utopianism inherent to the avant-garde project. In his Theorie der Avantgarde (1974), Peter B?rger made an influential contribution to this discussion by defining the critical project of the historical avant-gardes as a will to "reintegrate art into the practice of life". In recent research, however, the activist pathos of B?rger's formula has been subject to criticism, and most contemporary scholars seem to look for new models for approaching the history of the early avant-gardes - either by simply addressing the avant-garde rupture in purely aesthetic terms (as artistic innovations or configurations of styles etc.) or by emphasizing the pivotal role of philosophical ideas (vitalism or occultist thought) for the emergence of avant-gardes. In my paper, I would like to reopen this old discussion of the role of politics in the avant-garde project by tracing the short and dramatic history of the Copenhagen activist and artist group known as The New Student Society (DNSS). The paper will account for the political radicalization of the group's activities in this critical phase of the history of the early Danish avant-gardes, in which the aesthetics of international Expressionism, Dadaism and Constructivism were transformed into social practice and Communist action.

Cover -- Title Page -- Copyright Page -- Contents -- Acronyms -- Introduction: The Proper Name -- Chapter 1. Deccan Pastoral: The Making of an Ethnohistorical Imagination in Western India -- Chapter 2. Bombay and the Politics of Urban Desire -- Chapter 3. "Say with Pride That We Are Hindus": Shiv Sena and Communal Populism -- Chapter 4. Thane City: The Making of Political Dadaism -- Chapter 5. Riots, Policing, and Truth Telling in Bombay -- Chapter 6. In the Muslim Mohalla -- Chapter 7. Living the Dream: Governance, Graft, and Goons -- Conclusion. Politics as Permanent Performance -- Notes -- Glossary -- Bibliography -- Index

Notre contribution rend compte des premiers résultats d'une recherche consacrée à l'histoire de l'émigration allemande en Suisse pendant la Grande Guerre. Si le volet culturel de la question a déjà donné lieu à un nombre relativement important de travaux – notamment par les spécialistes du dadaïsme – son versant politique n'a toujours pas fait l'objet d'un travail de fond analysant les pratiques dont ses acteurs furent les artisans dans l'espace et dans le temps. Composé de trois parties, notre article fait apparaître les grands enjeux de cette réflexion.