Artículos de revistas sobre el tema "Imperialism in art"
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1
Emery, Elizabeth. "Imperialism, Art and Restitution". Commonwealth Law Bulletin 32, n.º 4 (diciembre de 2006): 745–47. http://dx.doi.org/10.1080/03050710601179135.
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O'Connell, Mary Ellen y Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution". International Journal of Cultural Property 12, n.º 4 (noviembre de 2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.
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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and antiquities, acquired during the Age of Imperialism, to the countries of origin. The case studies included the Elgin/Parthenon Marbles, the Bust of Nefertiti, and objects protected by the Native American Graves Protection and Repatriation Act (NAGPRA). The format produced a lively, interdisciplinary, and sometimes passionate debate that helped crystallize issues and expose complexities but certainly produced no consensus around a simple solution of return or retain.
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Đorđević, Marko. "Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti". Život umjetnosti, n.º 104 (julio de 2019): 86–99. http://dx.doi.org/10.31664/zu.2019.104.05.
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This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “artwork,” as applying to those art products that were not recognized as works of art, but rather that there was a change in the very process of aesthetic evaluation. We believe that, unlike the unitary modernist recognition of products as works by the institution of art, there is twofold recognition in the contemporary age. Here the claim to aesthetic evaluation is allowed to every product, but confirmed only to those that successfully reproduce the ruling “aesthetic imperialism.” Even though ideologists of contemporary art present this change as a result of progressivism that is inherent to the institution of art, we would like to argue that it is an effect of the abovementioned overdetermination of artistic production by fictitious capital, that is, its effects in aesthetic and legal fetishism. This hypothesis will be examined in two relatively autonomous instances: economic and ideological (artistic).
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Marcus, Anthony. "Aurora, a novel of art and anti-imperialism". Dialectical Anthropology 41, n.º 3 (14 de agosto de 2017): 279–83. http://dx.doi.org/10.1007/s10624-017-9467-4.
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Albert, Taneshia W. y Lindsay Tan. "Through the House of Slaves: A memorial to the origins of the Black diaspora". Art & the Public Sphere 10, n.º 1 (1 de julio de 2021): 17–36. http://dx.doi.org/10.1386/aps_00046_1.
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The debate surrounding the removal of statues of imperialists, slave owners and slave traders raises the question of how to memorialize sombre historical truths with cultural humility. The House of Slaves on Gorée Island, Senegal, represents the connections of cultural identity, belonging and placemaking reclaimed from the enduring cultural trauma of the Trans-Atlantic slave trade. Using daughtering as a methodology (Evans-Winters 2019: 1), the authors present a discussion about the symbolic nature of art that memorializes a transformational passage shaped by imperialism and racist ideology. The critical relationship between art and culture as embodied in an architectural form is explored through (1) the anthropological notion of belonging as membership and identity, (2) the direct human affective/emotional impact of architecture as art in the social and political issues of past and present and (3) art as an intracultural interaction based in cultural trauma and community spaces. Theoretical Framework: critical race theory. Method: autoethnographic narrative. Results: The House of Slaves speaks of a critical cultural moment that shaped the creation of a new cultural diaspora. This historical structure has become a sacred, spiritual Mecca for those whose ancestors were displaced from continental Africa. The remains of its architectural form reveal the forgotten history of slave exploitation that happened here. This memorial speaks of the continued struggle to make a space safe for Black bodies, Black design and Black identity within the public sphere. The cultural memory of this artefact, and all moments and memorials shaped by imperialism and racism, haunt our present reality. Just as art played a role in celebrating now-outdated narratives, it may also reframe these sombre historical truths. Art can elevate contemporary narratives that embrace cultural humility and speak to cultural competence through the continued first-person experiences of these monuments, spaces and artefacts.
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Vogt, Leonard. "The Poisonwood Bible, Lumumba, and A Congo Chronicle: Patrice Lumumba in Urban Art". Radical Teacher 113 (14 de febrero de 2019): 62–63. http://dx.doi.org/10.5195/rt.2019.595.
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Lee, Judith Yaross. "Comic Empires: Imperialism in Cartoons, Caricature, and Satirical Art". Studies in American Humor 8, n.º 1 (1 de abril de 2022): 193–97. http://dx.doi.org/10.5325/studamerhumor.8.1.0193.
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Shechtman, Anna. "The Medium Concept". Representations 150, n.º 1 (2020): 61–90. http://dx.doi.org/10.1525/rep.2020.150.1.61.
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In the second half of the twentieth century, in the very decades when the concept of “media” entered the vernacular, the “medium concept” began to shape American art criticism and curation. This was no coincidence: “mediums” emerged as a category for the organization and appreciation of art as the dialectical counterpart to media, and in response to the cultural imperialism of its mass-produced forms. As art became increasingly public, mediums became the public face of art.
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Ballantyne, Andrew. "Specimens of Antient Sculpture: Imperialism and the decline of art". Art History 25, n.º 4 (septiembre de 2002): 550–65. http://dx.doi.org/10.1111/1467-8365.00344.
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Tasrif, Muh. "DIMENSI SPIRITUAL KEBUDAYAAN DI TENGAH RELASI YANG TIMPANG ANTARA UTARA DAN SELATAN". El-HARAKAH (TERAKREDITASI) 10, n.º 2 (10 de agosto de 2008): 107. http://dx.doi.org/10.18860/el.v10i2.4429.
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<p>Moslem society as a part of the population of the south world, culturally, is in the influence of the hegemony of non-moslem culture, mainly, European, American, and Australian as parts of the north world population. Until the mid twentieth century, the hegemony existed in the form of military imperialism. Meanwhile, in the post mid twentieth century the hegemony changed into cultural imperialism in many areas, such as social, economic, social and even art. The countries of the south world have really done some efforts to face the neo imperialism, but have not suceeded well. Therefore, more serious effort should be done to face the neo imperialism, that is the creativity to make the European and American cultural products as materials that can be creatively rearranged and matched with the local culture. In the creative process the spiritual dimension of culture should become the basis of cultural production process at present and in the future to create a fair relation. The use of spiritual dimension of culture can create new cultural products. In turn, the cultural products of the south world will exist, and finally they can be exchanged with the products of the north world. This is what China is doing with its developing economic power to balance out the domination of Europe and America. The same hopefully appears from the Islam world although it needs more serious cultural works. According to Faisal Ismail, the awakening of Islam and its culture depend on the moslem themselves and their cultural works.</p><p> </p><p>Masyarakat Muslim sebagai bagian dari populasi dunia selatan, secara kultural, berada dalam pengaruh hegemoni budaya non-muslim, terutama Eropa, Amerika, dan Australia sebagai bagian dari populasi dunia utara. Sampai pertengahan abad ke-20, hegemoni itu ada dalam bentuk imperialisme militer. Sementara itu, pada pertengahan abad ke-20 hegemoni berubah menjadi imperialisme budaya di banyak bidang, seperti sosial, ekonomi, sosial dan bahkan kesenian. Negara-negara di dunia selatan telah benar-benar melakukan beberapa upaya untuk menghadapi imperialisme neo, namun belum berhasil dengan baik. Karena itu, usaha yang lebih serius harus dilakukan untuk menghadapi neo imperialisme, yaitu kreativitas membuat produk budaya Eropa dan Amerika sebagai bahan yang bisa ditata ulang secara kreatif dan disesuaikan dengan budaya lokal. Dalam proses kreatif dimensi spiritual budaya harus menjadi dasar proses produksi budaya saat ini dan di masa depan untuk menciptakan hubungan yang adil. Penggunaan dimensi spiritual budaya bisa menciptakan produk budaya baru. Pada gilirannya, produk budaya dunia selatan akan ada, dan akhirnya mereka bisa dipertukarkan dengan produk-produk dari dunia utara. Inilah yang dilakukan China dengan kekuatan ekonomi yang berkembang untuk mengimbangi dominasi Eropa dan Amerika. Hal yang sama semoga muncul dari dunia Islam meski membutuhkan karya budaya yang lebih serius. Menurut Faisal Ismail, kebangkitan Islam dan budayanya bergantung pada umat Islam sendiri dan karya budaya mereka.</p>
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Sekulić, Nada. "Ukradena autentičnost: recepcija primitivne umetnosti i kulture na reprezentativnim međunarodnim sajmovima krajem XIX i početkom XX veka". Issues in Ethnology and Anthropology 11, n.º 3 (2 de noviembre de 2016): 897. http://dx.doi.org/10.21301/eap.v11i3.12.
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The colonial expansion has marked the beginning of the collecting of the art objects from the conquered countries and regions. Spanish conquistadors transported various cultural artifacts of Aztecs and Incas in Europe, where they became curiosities at the chambers of the royalty. With further geographical discoveries, through trade routes and wars, the number of these items considerably increased and in the 18th century the first museums were established where they were exposed for public exhibitions. At a time when there was no photographs nor film, for people who were not able to travel, museums and public exhibitions became the main source of information about primitive cultures, but also the main source for the construction of stereotypes about them. The most important among them were the great world exhibition fairs of technology and art. They represented the foundation of the global (imperialist) integration and vision of the world. The primitive cultures and various conflicting aspects of imperialist conquest were deleted by creating the image of their timelessness and backwardness, as well as of their exotic beauty and authenticity. Primitive culture and imperialism were framed in the common picture of their mutual harmonious complementarity. The authenticity of the cultural artifacts of primitive cultures together with the entire nations and their resources have been colonized and exploited giving way to the ideology of modernism and the development of capitalism.
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Sun, Shuting. "Imperialist Ideology and Kurtz in Heart of Darkness and Apocalypse Now". English Language and Literature Studies 9, n.º 2 (23 de mayo de 2019): 64. http://dx.doi.org/10.5539/ells.v9n2p64.
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This article will argue that the tragedy of both Kurtzes is that they are trapped in the perverse logic of the ideology of imperialism. The ideology of imperialism assumes the absolute superiority of the oppressor. It is self-contradictory because it is based upon classifying the oppressed as morally inferior, but maintaining imperialism requires systematic barbarity, which morally degrades the imperialist. The historical response of successful imperialists to this has been a special kind of hypocrisy embodied in an attempt at creating distance between actor and act, perpetrator and victim. This article will make the case that both Kurtzes are destroyed by their moral integrity. They honestly admit their depravity to themselves. This grants them great power in facilitating imperial strategic aims but forces them to acknowledge the lie at the heart of imperialist ideology that legitimized the strategy, rendering their acts purposeless. The honesty of their conduct undermines the imperialist ideology. The honesty of their undertakings causes the managers to increasingly perceive Kurtz as a threat and identify him with the ‘savages’ they are supposed to be ‘civilizing’. Kurtz challenges the hypocrisy of the ideology of imperialism precisely insofar as he helps it achieve its true aims.
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Miles, Kate. "Painting international law as universal: imperialism and the co-opting of image and art". London Review of International Law 8, n.º 3 (1 de noviembre de 2020): 367–98. http://dx.doi.org/10.1093/lril/lrab002.
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Abstract Visual international law tells stories. Image and art supporting imperialism in the eighteenth and nineteenth centuries also projected the authority and universalism of international law. This article argues that depictions of treaty-making, of international legal theorists, and of conferences were about painting European international law as ‘successful’—telling stories of an authoritative, universal, and virtue-laden mode of international regulation.
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Menon, Rajan y John R. Oneal. "Explaining Imperialism: The State of the Art as Reflected in Three Theories". Polity 19, n.º 2 (diciembre de 1986): 169–93. http://dx.doi.org/10.2307/3234909.
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Bakke, Monika. "Art for Plants' Sake? Questioning Human Imperialism in the Age of Biotech". Parallax 18, n.º 4 (16 de octubre de 2012): 9–25. http://dx.doi.org/10.1080/13534645.2012.713196.
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Jamal, Ashraf. "Black Self". Thinker 91, n.º 2 (6 de junio de 2022): 7–9. http://dx.doi.org/10.36615/thethinker.v91i2.1284.
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When asked to convene a colloquium about something that, for me, defines the art world during this on-going pandemic, I thought of the obvious – revisionism in the West, and the stratospheric obsession/fetishization of the black body. Why, I wondered, is black portraiture ‘a thing’? And why, of all people, was Amoako Boafo the most sought-after black portraitist in 2020? Why, at this historicalmoment, should the art world reclassify its driving concerns, rethink curation, staffing, education, and access? Because black art is the new frontier? Because of a seismic ethical shift, generated by theslaughter of blacks in America? Because the spectreof imperialism persists?
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Bennett, Helen. "Being Modern: Living in Flats in Interwar Brisbane". Queensland Review 13, n.º 2 (julio de 2006): 35–48. http://dx.doi.org/10.1017/s1321816600004414.
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In the period between the First and Second World Wars, Brisbane — in common with most of the ‘Western’ world — embraced a self-conscious modernity: the by-product of nineteenth century industrialisation, imperialism, liberalism and emergent consumerism. Reflected in material and intellectual culture from high art to daily lifestyle, and from the home to the workplace, modernity became the catch-cry and call-sign of the interwar years.
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Ian Shin, K. "The Chinese Art “Arms Race”". Journal of American-East Asian Relations 23, n.º 3 (27 de octubre de 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.
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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.
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Ledbury, Mark, Todd Porterfield y Darcy Grimaldo Grigsby. "The Allure of Empire: Art in the Service of French Imperialism 1798-1836". Art Bulletin 86, n.º 3 (septiembre de 2004): 603. http://dx.doi.org/10.2307/4134449.
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Heng Wong, Yuet. "Beyond Imperialism: The 19th-Century Display of Chinese Art at the Musée Guimet". Arts asiatiques 74, n.º 1 (2019): 69–86. http://dx.doi.org/10.3406/arasi.2019.2026.
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Walonen, Michael. "Globalization, Yankee Imperialism, and Machismo in the Mexican Narco-Narrativa". Latin American Literary Review 46, n.º 92 (12 de noviembre de 2019): 44–52. http://dx.doi.org/10.26824/lalr.117.
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Rather than existing in a parallel, disconnected manner from the licit transnational circuits of the global capitalist economy, the transnational drug trade is in fact a core component of this system and one that has to a considerable extent dictated the terms of Mexico’s into this system, as well as the shape of contemporary Mexican society. This has given rise to a sizeable body of narco-narrativas (‘narco-narratives’) which serve as means of textually exploring Mexico’s immediate ‘street-level’ experiences of the transnational flows of capital and goods comprising globalization and the social consequences of the shift towards neoliberal political economy. This essay argues that in doing so these narratives variously confront the shifting social dynamics of neoliberal globalizing Mexico, a U.S. imperialism that takes new forms for a new era, and the culture of machismo that animates Mexican drug cartels. Martin Solares’s Don’t Send Flowers poses this period of rising cartel violence as a second major crisis transforming Mexican society, after the economic collapse and subsequent IMF-mandated structural reforms of 1982, one that runs the risk of simply producing more uneven and socially marginalizing capitalist development. Elmer Mendoza’s The Acid Test, on the other hand, sees a sad inevitability in continuing drug violence and an exiled but not effaced possibility of moral action and leftist populist social reform, while Yuri Herrerra’s Kingdom Cons uses the figure of the drug trafficking kingpin to allegorizes the relationship of art to worldly power and stress the need of art to distance itself from capitalist criminality and propagandistic social functioning.
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Spencer, Catherine. "Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación". ARTMargins 10, n.º 2 (junio de 2021): 50–72. http://dx.doi.org/10.1162/artm_a_00292.
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Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.
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Potter, Pitman. "People's Republic of China Provisional Regulations on Art Import and Export Administration". International Journal of Cultural Property 18, n.º 1 (febrero de 2011): 131–37. http://dx.doi.org/10.1017/s0940739111000099.
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China's increased interaction with the global community has led to significant changes in art and artistic expression. The China art market is expanding by leaps and bounds, and artists are subject to an increasingly broad range of influences. Not least of these are the discourses of artistic criticism, with targets that range from international financial institutions to domestic policies. Art in China has for millennia been used as a vehicle for political criticism. Among early examples are the bamboo and landscape paintings of the Yuan dynasty that conveyed a sense of whimsical alienation from the affairs of formal society—implicitly a critique of Mongol rule. During the revolutionary period prior to 1949, the Communist insurgency encouraged painters like Shi Lu to enliven popular resistance to Japanese imperialism and against China's Goumindang rulers.
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Howorus-Czajka, Magdalena. "Lęk i czerwona kotara. Prestiż a twórczość nie-filmowa Davida Lyncha". Panoptikum, n.º 19 (30 de junio de 2018): 176–84. http://dx.doi.org/10.26881/pan.2018.19.12.
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Inspired by David Lynch’s works of visual art, this paper is an attempt to identify some extra-artistic mechanisms (the art market) relating to artworks. As a result, his non-cinematic works have been analysed here in the context of the mechanisms operating in culture, as indicated by Mieke Bal (“cultural imperialism”) and James F. English (“economy of prestige”). The artistic works of the American film director have been located on the main axes identified in this context. In addition to the expressionist-surrealist origin and commonly acknowledged connotations with the works of Edvard Munch, Oskar Kokoschka and Francis Bacon, the author also shows ideological threads combining Lynch’s works with Tadeusz Kantor’s legacy.
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Arya, Rina. "Decolonizing art and design: Rethinking critical and contextual studies". Art & the Public Sphere 11, n.º 1 (1 de abril de 2022): 55–60. http://dx.doi.org/10.1386/aps_00068_1.
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The history of art, more accurately described as the history of western art, has been premised on a history of cultural imperialism that privileges certain traditions and ideologies over others. The decline of the discipline within the academy in recent decades and replacement in many cases with the more critically evaluative and broader area of critical and contextual studies (CCS) has filled a function in art and design education but needs to be critically interrogated for its relevance and its pedagogical usefulness in thinking about the politicized discourse of art. Attempts have been made within the academy to decolonize the curriculum. Within the context of CCS this entails ensuring standardizing the approach to the subject but not the content, which would be neither desirable nor possible given the decentralized way in which CCS is staffed. A standardization of approach means the inculcation of critical reflexivity when considering structures of knowledge, which helps identify gaps in the curricula and ways of addressing these. Decolonizing is a process that needs to be continuous and reflexive in order to embed significant change.
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Silver, Carole G. "VICTORIANS LIVE: Images of Empire: Art and Artifacts in Cape Town, South Africa". Victorian Literature and Culture 34, n.º 1 (marzo de 2006): 335–42. http://dx.doi.org/10.1017/s1060150306211197.
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CAPE TOWN, SOUTH AFRICA–eclectic, vibrant, and heterogeneous–still bears the marks of its past as a site of Victoria's empire. The city abounds in English Victorian artifacts: buildings, statues, fountains, streets and their names (even to Victoria Street and Rhodes Drive) are all reminders of the period, but one wonders what, if anything, they mean to the people who live with them. Some recognize them as a legacy–pleasant or unpleasant– of the days when the Cape was a British colony; to others they are symbols whose context has been forgotten, to yet others, they are simply objects devoid of extrinsic meaning. All are, however, artifacts of imperialism, in its broader sense of the social, political, economic, and cultural domination of one group over all others.
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Reid, Donald Malcolm. "Cultural Imperialism and Nationalism: the Struggle to Define and Control the Heritage of Arab Art in Egypt". International Journal of Middle East Studies 24, n.º 1 (febrero de 1992): 57–76. http://dx.doi.org/10.1017/s0020743800001422.
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It was Europeans who started in Egypt a historic preservationist movement for Arab (or Islamic) art.1 It was they who persuaded Khedive Tawfiq to decree, in December 1881, the founding of the Committee for the Conservation of Monuments of Arab Art (hereafter “the Comité,” the usual French designation). It was the European-dominated Comité that opened the Museum of Arab Art three years later, and it was an Englishman, K. A. C. Creswell, who established the Institute of Islamic Archaeology at the Egyptian (later Cairo) University. Why did the Europeans care? In 19th-century Europe, romanticism gave a strong impetus to writers and painters, scholars, and collectors to search for a lost past, the unusual, the exotic, the “Oriental.” This inquiry into the past, at home and abroad, was intimately bound up with Westerners' search for their own identities and with the triumph of the idea of the nation-state. Historic preservationists and museums selected, conserved, and displayed buildings and objects defined as valuable to their national heritages. Romanticism, in part a revolt against classical styles, also spurred a "Gothic revival movement and a fascination with various Oriental styles.
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Alonso Cano, Oriol. "Quiasmo Metodológico: El arte como Fuente de Experiencia". Barcelona Investigación Arte Creación 4, n.º 3 (2 de octubre de 2016): 248. http://dx.doi.org/10.17583/brac.2016.1936.
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This research proposes to indicate the need of multiplicity of methodologies in the moment to approach at human experience. Any methodological imperialism (scientific, social, humanist ...) it’s condemned to the failure since it will be unable to be able to include the totality of the ontological wealth of the human experience. For this reason, it will be observed like, the art, it can be raised in a diaphanous example of methodology that, close to the rest of disciplines, offers us the possible tools to be able to work with the experience.
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Arik, Hülya. "Muslim Women, Transnational Feminism, and the Ethics of Pedagogy". American Journal of Islam and Society 32, n.º 4 (1 de octubre de 2015): 104–9. http://dx.doi.org/10.35632/ajis.v32i4.1007.
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The asphyxiation of subaltern voices and the disregard of Arab and Muslimwomen’s subjectivities in the cultural sphere of the post-9/11 era is the mainproblematic addressed by this collection. With the editorship of Lisa K. Taylorand Jasmin Zine, and based on the legacy of post-colonial writers like GayatriSpivak and Paulo Friere, this collection foregrounds how Orientalism operateson the ground and discusses how we can come up with new discursive toolsand spaces for articulations of difference and diversity and for “reading back” to resist the Empire. Critical public pedagogy is both the main objective and themain analytical tool in unmaking the epistemic frameworks of western imperialism,Orientalism, and patriarchy. The articles take up different stories to exposehow racist, patriarchal, imperialist, and neo-Orientalist legacies cooperate withwestern feminism in the public and cultural realms and determine the forms ofrepresentation and modalities of agency that Muslim and Arab women canclaim. Presenting examples from South Asia to North America to the MiddleEast through various cultural media (e.g., literature, the visual arts, film, andperformance art), this volume contributes to studies in critical pedagogy, transnationalfeminism, and cultural and Islamic studies. It addresses an audience thatranges from academics and students to artists and public pedagogues ...
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Waterfeld, Sarah. "B6112—Art after All: The Alleged Occupation of the Volksbühne am Rosa-Luxemburg-Platz". Theatre Survey 59, n.º 2 (25 de abril de 2018): 276–81. http://dx.doi.org/10.1017/s0040557418000108.
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B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.
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Ayad, Lara. "Homegrown Heroes: Peasant Masculinity and Nation-Building in Modern Egyptian Art". ARTMargins 11, n.º 3 (1 de octubre de 2022): 24–68. http://dx.doi.org/10.1162/artm_a_00324.
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Abstract On January 18, 1938 the Fuad I Agricultural Museum in Cairo opened its palatial doors to the local public and featured four untitled portraits (1934–1937) of peasant men sporting distinctive costumes and handicrafts. The artist behind these prominent paintings was an Egyptian named Aly Kamel al-Deeb (1909–1997), whose early career combined commissions at official museums and participation in anti-establishment artist groups in Egypt. What could explain al-Deeb's transition from creating art in opposition to national museums, to painting for such institutions? This essay analyzes al-Deeb's four paintings, which I call Homegrown Heroes, and argues that they began shifting the urban Egyptian public's perceptions of the male peasant subject and his role in achieving national sovereignty. Many scholars put nationalist and avant-garde narratives of Egyptian identity in opposition. This essay reveals the patriarchal frameworks underlying representations of folk art and authenticity among nationalists and the avant-garde alike in their meditations on the peasant figure. Contextualizing Homegrown Heroes in the surrounding art and science displays, popular culture, and sociopolitical shifts of the interwar period shows that male peasant figures in Egyptian art transformed from passive symbols of cultural backwardness to heroic citizens who use folk-art practices to liberate Egypt from Western imperialism.
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Rajan, Doris, Roshanak Jaberi y Shahrzad Mojab. "Confronting Sexual Violence Through Dance and Theatre Pedagogy". Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, n.º 2 (1 de junio de 2019): 255–61. http://dx.doi.org/10.15402/esj.v5i2.68349.
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The historically-shaped violence embedded in ongoing relations of colonization and imperialism for both refugee and Indigenous women across the globe are stories mostly told in reports and statistics. The performance-based art forms of theatre and dance can enhance knowledge sharing, build relationships and assist women in a deeper understanding of their realities. In pursuit of an effective use of these art forms; however, scripted stories need to ensure that women who experience oppression, formulate the storytelling. In addition, the enactment and representation should share women’s material histories in order to contextualize experiences in terms of specific relations to land, war, violence, displacement and dispossession. Using the two case studies of Doris Rajan’s play, A Tender Path and Roshanak Jaberi’s multidisciplinary dance project, No Woman’s Land, this article examines how community-engaged research and performance arts-based approaches can be used to challenge and provoke our ways of understanding and thinking about how to disrupt and alter oppressive relations.
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Dhuhri, Saifuddin, Hamka Hasan, Ahmad Sholeh Sakni y Iffatul Umniati Ismail. "Passive Islamophobia and cultural national construction: a critical note on art curriculum". Indonesian Journal of Islam and Muslim Societies 11, n.º 1 (21 de junio de 2021): 1–27. http://dx.doi.org/10.18326/ijims.v11i1.1-27.
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This study aims to explore the passive Islamophobia in the arts and culture subjects on the KTSP and K-13 curriculum of secondary schools. Employing the representation theory, this article explores the relationship between marginality and Islamophobia integrated into the fine arts curriculum. Through content analysis of 2 textbooks for grades VII and VIII, some elements of marginalization in the Islamic cultural values were found. The conception of Indonesian nationality originates from various internal solidarity and contestation between Islamism, Hinduism and secularism in resistance to imperialism. The fallacy in the narrative of the mainstream of Indonesian nationalism seen as deeply rooted in the legacy of Majapahit/Hinduism, which unwittingly calls Indonesia the new Majapahit needs to be straightened out. The construction of cultural nationalism, meanwhile, overrides Islamic culture and identity. This article indicates that the teaching of the nationality of Indonesian culture does not consider the heritage of Islamic arts and culture. The marginality and exclusion of Islamic arts and culture in the construction of Indonesian nationality through the art curriculum and art education policy shows passive Islamophobia internalized therein, instead of the existence of accommodation and respect for Islamic culture.
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Ikegami, Hiroko. "Pop as Translation Strategy: Makishi Tsutomu's Political Pop in Okinawa". ARTMargins 7, n.º 2 (junio de 2018): 42–71. http://dx.doi.org/10.1162/artm_a_00208.
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This essay makes the first sustained study of the Okinawan artist Makishi Tsutomu (1941–2015) who used American Pop Art vocabularies to describe the complex realities of US-occupied Okinawa. Focusing on his 1972 installation Commemorating the Reversion to the Great Empire of Japan, the essay examines the critical ambivalence of Makishi's Political Pop as a translation strategy. Despite his critique of both American and Japanese imperialism, Makishi was aware that Okinawa was inseparably entangled in it, especially in the context of the Vietnam War, which brought violence, but also economic benefits, to Okinawa. Despite his use of the American Pop idiom as a new lingua franca for contemporary art, Makishi's work did not reach either mainland or international audiences as the artist exhibited almost exclusively in Okinawa. By comparing Makishi's artistic strategies with those of a representative Okinawan novelist, Ōshiro Tatsuhiro, especially as articulated in his 1967 novella The Cocktail Party, the essay situates the significance of Makishi's project within the emerging discourse on the global neo-avant-garde.
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PHILLIPS, WESLEY. "Spaces of Resistance: the Adorno–Nono Complex". Twentieth-Century Music 9, n.º 1-2 (marzo de 2012): 79–99. http://dx.doi.org/10.1017/s1478572212000217.
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AbstractThe historical and theoretical resonances between the work of Theodor Adorno and that of Luigi Nono have hitherto remained underexplored. In this article a debate is constructed between the two figures concerning the politics of space in advanced music in order to question a frequently held opposition between ‘autonomous’ and ‘political’ art. Nono can be seen to interweave German and Italian traditions of historical materialism, responding simultaneously to the issues of both reification and imperialism. This is drawn out by way of Adorno's evolving attitude towards the younger generation at Darmstadt, via his revised understanding of the relationship between music and painting. Conversely the solidarity Nono maintained with contemporary spaces of resistance while not compromising his musical language promises to expand Adorno's aesthetic theory.
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Young, Allison K. ""We Never Did Return": Migration, Materiality and Time in Penny Siopis' Post-Apartheid Art". Contemporaneity: Historical Presence in Visual Culture 4 (3 de agosto de 2015): 45–70. http://dx.doi.org/10.5195/contemp.2015.131.
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This article explores “migration” as both theme and operation in two works by the South African artist Penny Siopis, each created in the year 1997: the artist’s first film, My Lovely Day, and a related object installation entitled Reconnaissance (1900-1997). In each work, Siopis traces the course of her grandmother’s emigration from Europe to Africa through a variety of found, collected, or inherited components that bore witness to the longue durée of imperialism and Apartheid. Mediating between national, cultural, and familial narratives, these works are inherently archaeological in nature, and allowed viewers at the time to reflect on the multiple entangled histories that comprised the post-Apartheid condition. The late nineties in South Africa were defined by the conclusion of Apartheid, the Truth and Reconciliation Commission, and two major biennale exhibitions of contemporary art. The decade thusly saw a stream of collective efforts to both unearth the past and envision the future, marking a time of great cultural, artistic, political, and discursive transition. Mapping questions of medium-specificity and affect over this larger context, I investigate Siopis’ use and manipulation of historical traces as well as notions of contemporaneity and temporality in her art.
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Quiñones-Otal, Emilia. "Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean". Arte, Individuo y Sociedad 31, n.º 3 (1 de julio de 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.
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Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America’s artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art.
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Stortini, Paride. "Buddhism and Cultural Heritage in the Memorialization of the Hiroshima Bombing: The Art and Activism of Hirayama Ikuo". Religions 13, n.º 2 (5 de febrero de 2022): 146. http://dx.doi.org/10.3390/rel13020146.
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Debates on the memorialization of the atomic bombing of Hiroshima have played an essential role in the construction of postwar Japanese identity, public memory, and historical consciousness. Religion, often conceived beyond traditional terms through concepts such as “spirituality” and “heritage”, was part of this process. This article examines the role of Buddhism in the autobiographical and visual narratives of the atomic bomb survivor Hirayama Ikuo, who expressed his personal trauma through art, turning it into a call for peace and for the preservation of the cultural heritage of the Silk Road, associated with the spread of Buddhism. Using recent critical approaches to heritage studies, I will show how the heritagization of Buddhism in Hirayama’s work does not preclude the sacralization of aspects of Silk Road heritage. Placing Hirayama’s approach to the nuclear bombing in the context of postwar discourses on Japan as a peaceful “nation of culture”, I will also problematize his view of Buddhism and the Silk Road by showing how similar views were used in support of imperialism in the prewar period.
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Greene, Roland. "Baroque and Neobaroque: Making Thistory". PMLA/Publications of the Modern Language Association of America 124, n.º 1 (enero de 2009): 150–55. http://dx.doi.org/10.1632/pmla.2009.124.1.150.
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Among the most historically fixed of art historical and literary concepts, the Baroque arises at the intersection of early modern classicism, imperialism, and science—that is, out of the high Renaissance—to become a kind of antiprogram of resistances: to the absolutist state, the rise of empirical science, the pressures of empire, and other sixteenth-century signs of the gathering regimentation of knowledge. With a flourish of forms and a play of perspectives, the baroque embodies the recoil from such regimentation and the gathering sense that all these systems for organizing human experience fall short in the face of disorder, contingency, and death. Seen from certain vantages, the specimens of the baroque often seem complicit with the projects of absolutism, empire, and late humanism; but regarded in all their dimensions, such works are often complex reactions, critical and compromised, to those projects.
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Johansson, Perry. "Resistance and Repetition: The Holocaust in the Art, Propaganda, and Political Discourse of Vietnam War Protests". Cultural History 10, n.º 1 (abril de 2021): 111–32. http://dx.doi.org/10.3366/cult.2021.0233.
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The Western European protest movement against the American War in Vietnam stands out as something unique in contemporary history. Here finally, after all the senseless horrors of the twentieth century, reason speaks, demanding an end to Western atrocities against the poor South. But in the rosy fog of humanistic idealism and youthful revolution lies the unanswered question, why did this and not any other conflicts, before or after, render such an intense, widespread reaction? Taking Sweden as a case in point, this article employs the concepts of resistance, trauma, memory, and repetition to explore why the Vietnam movement came into being just as the buried history of the Holocaust resurfaced in a series of well-publicized trials of Nazi war criminals. It suggests that the protests of the radical young Leftists against American “imperialism” and “genocide” were informed by repressed memories of the Holocaust. The Swedish anti-war protests had unique and far-reaching consequences. The ruling Social Democratic Party, in order not to lose these younger Left wing voters to Communism, also engaged actively against the Vietnam War. And, somewhat baffling for a political party often criticized for close ties to Nazi Germany during WWII, its messaging used the same rhetoric as the Far Left, echoing Nazi anti-Semitic propaganda.
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Pacey, Philip. "The universal availability of art publications: a global context". Art Libraries Journal 10, n.º 3 (1985): 7–31. http://dx.doi.org/10.1017/s0307472200004260.
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‘Universal Availability of Publications’ (UAP) and the universal availability of art publications should be considered in the context of ‘one world’, a world in which we all share responsibility for our fellow human beings. In this context both librarianship and art, and thus art librarianship also, should be seen as services rendered to humankind at large. IFLA’s UAP programme has been conceived as a service, intended to supply genuine human needs, and art librarians, who are constantly frustrated in their efforts to serve users of art libraries by the limitations to the availability of art documentation, can readily identify a need for ‘Universal Availability of Art Publications’. Nevertheless, a worldwide programme of this nature is in danger, first, of being pursued for its own sake (or for the sake of ‘needs’ which are imagined, over-emphasised, or misconceived), and second, of reinforcing cultural imperialism. Safeguards include acceptance of the necessity to proceed step by step in pursuit of a success which can never be complete; the fact that UAP is founded on local collections developed to meet local needs; recognition of the imbalance in the production of publications in different parts of the world; and recognition of the importance of unpublished documentation and of ‘publications’ which do not as yet exist. A greater emphasis on increasing the availability, and generating the production, of publications from countries which publish relatively little, is proposed. A fourth safeguard ought to derive from the professional ethics and grass-roots experience of librarians, who serve and identify with library users, actual and potential. The pursuit of universal availability of art publications should be based on realistic assessment of what is feasible, and on local, regional, and national resources, with all possible encouragement being given to developing countries to document their own arts. Art librarians may be paying too little attention to the needs of users and, especially, of non-users of art libraries, and should be aware of the barriers to availability which can result from the prevalence of a narrow, elitist conception of ‘Art’ and from the provision of library services primarily for an elite. Without neglecting the service of scholarship, the art library profession should try to shift the balance of its commitment towards the provision of a service for everyone, everywhere, so that our interpretation and pursuit of the ‘Universal Availability of Art Publications’ truly reflects a vision of our whole world’s heritage and practice ‘of divers arts’.This is the text of a paper presented to the Section of Art Libraries, at the 1985 IFLA Council in Chicago.
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Dimković, Danijela Miodrag. "Creativity of Dragutin Inkiostri as the Text of the Cultural Identity of the Balkans". South East European Journal of Architecture and Design 2016 (2 de marzo de 2016): 1–8. http://dx.doi.org/10.3889/seejad.2016.10015.
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AIM: This article is directly addressing to various aspects of the folklore heritage, postcolonial studies and their influence on the development of the national idea and creating a national culture that participates in the of cultural identity.METHODS: Home premise is that some models of colonial discourse considered in the theoretical concept of postcolonial studies, are being reflective on the Balkans as well. The tradition which constitutes of culture and art, as well as a selection of different practices, meanings, gender, class and racial identification. Perceiving the intangible cultural heritage, folk culture as the context of social and cultural development of contemporary cultural policy, art production and development of the creative sector.RESULTS: This kind of problematization seems necessary and appears as a form of reaction to the emergence of globalization, post-colonialism, imperialism, and similar forms of government which are based on various power relations as an increasingly intense process of continually pose challenges to understanding and redefining their own heritage in the context of finding a national, cultural and Balkan identity.CONCLUSION: In this context, creativity of Dragutin Inkiostri Medenjak (1866) during the late nineteenth and early twentieth century is being imposed as an appropriate choice for argument of the initial thesis.
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Korn, Lorenz. "The “German Fountain” in Istanbul: Object of Transfer in the Age of Historicism and Diplomacy". Der Islam 95, n.º 2 (8 de noviembre de 2018): 549–95. http://dx.doi.org/10.1515/islam-2018-0034.
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Abstract The “German Fountain” on the Hippodrome in Istanbul, commissioned by the German Emperor Wilhelm II, has been perceived (and sometimes ridiculed) as a marginal by-product of imperialism and historicism. However, the history of its origins, construction and inauguration highlights significant aspects of German-Ottoman relations in the Hamidian period. The fountain is an example of the role that art and architecture played in these relations. The history of its planning indicates in which way the urban history of Istanbul was perceived and how a new monument was inserted, under the particular conditions of patronage by a foreign monarch. For the present article, German archival sources have been utilized to reconstruct the events and to interpret underlying attitudes. These sources elucidate the process of veritable trans-cultural negotiations, in which numerous partners with differing agendas participated. Besides, an art historical glance at the design of the fountain permits conclusions on choices that were made by the patron and the architect, significant for the understanding of the monument by its contemporaries. The particular conditions of the Ottoman Empire struggling for survival vis à vis European powers, and German foreign politics, become visible in the location and style of the fountain as well as in the protocol of its inauguration.
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Gyanwali, Gokarna Prasad. "Mistica: A Marxist Praxis". Patan Pragya 9, n.º 02 (31 de diciembre de 2021): 91–98. http://dx.doi.org/10.3126/pragya.v9i02.42027.
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The Mística is the symbolic or dramatic social movement of Marxism initiated by Brazilian Landless Rural Workers. It is the popular movement practiced by the Communist parties and socialist organizations of the world. It was developed from Latin American liberation doctrine and interpreted as love for a cause, solidarity experienced in collectivity, symbolic presentation of the socialist movement, and belief in radical change. It is one type of philosophical movement which has a demonstrative attachment, praxis of pedagogy, behavioral collectivity, and cultural movement to change the social world guided by the theory of Karl Marx. It has political roots against the homogenization of culture, imperialism, and capitalist domination of the world. It uses art, music, drama, activity, symbol, media, and other modern tools which help the people for emancipation. This article will demonstrate some of the major aspects of mistica based upon the field observation of Brazil and Nepal.
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PARFITT, ROSE. "Fascism, Imperialism and International Law: An Arch Met a Motorway and the Rest is History . . ." Leiden Journal of International Law 31, n.º 3 (2 de julio de 2018): 509–38. http://dx.doi.org/10.1017/s0922156518000304.
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AbstractWhat would happen to our understanding of international law and its relationship with violence if we collapsed the distinction between our supposedly post-colonial ‘present’ and its colonial ‘past’; between the sovereign spaces of the twenty-first century global order, and the integrated, hierarchical space of fascist imperialism? I respond to this question through an investigation into the physical contours of a precise ‘imperial location’: 30°31′00″N, 18°34′00″E. These co-ordinates refer to a point on the sea-edge of the Sirtica that is occupied today by the Ra's Lanuf oil refinery, one of Libya's three most important such facilities. In the late 1930s, however, during Libya's period of fascist colonial rule, this was the point at which a state-of-the-art motorway, the Via litoranea libica, was crossed by a giant triumphal arch, the Arco dei Fileni. Through a chronotopic reading of the temporal, spatial and interpellative aspects of this point, its architecture and its history, I suggest that fascist lawyers, officials and intellectuals accepted a horrifying truth about the relationship between international law and violence – a relationship that twenty-first century doctrinal international law is loath to confront, concerning the inherently expansionist logic of the sovereign state, and the inevitably hierarchical ordering of the ‘international community’ which stems from it.
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Withers, D.-M. "‘Neither Pure Love nor Imitating Capitalism’: Euro WILD and the Invention of Women's Music Distribution in Europe, 1980–1982". Feminist Review 120, n.º 1 (noviembre de 2018): 85–100. http://dx.doi.org/10.1057/s41305-018-0138-3.
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Euro Women's Independent Label Distribution (WILD) was a pan-European network of feminist music distributors active in the early 1980s. They were affiliated to WILD, the US-based Women's Music distribution network founded in 1979 to disseminate the growing corpus of Women's Music emerging from the US Women's Liberation Movement (WLM). This article presents an interpretation of archive materials that document Euro WILD's activities from the Women's Revolutions Per Minute archive, housed at the Women's Art Library, London. Constrained and enabled by the archive materials on offer, I revisit some of the practical and political problems the network faced as European distributors of US Women's Music. Key issues explored include the perception of US cultural imperialism by women based in Europe and the affective politics that circulated transnationally between distributors. Finally, this article explores how the concept and practice of the Women's Music industry changed when women beyond the borders of the US engaged with it.
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Niewöhner, Philipp. "„Byzantinisch“ oder „germanisch“? Zur Ambivalenz wilhelminischer Mosaiken am Beispiel der Erlöserkirche in Bad Homburg". Byzantinische Zeitschrift 113, n.º 3 (1 de agosto de 2020): 905–22. http://dx.doi.org/10.1515/bz-2020-0039.
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AbstractThe Erlöserkirche at Bad Homburg was built between 1903 and 1908 at the instigation of Kaiser Wilhelm II. It combines a neo-Romanesque exterior with Norman-Sicilian mosaics inside. Both were „Germanic“ to the emperor, and the church embodied his all encompassing claim to the tradition of the medieval Holy Roman Empire of the German Nation. Alternatively, the contemporary Byzantinist Ernst Gerland pointed to a Byzantine origin of the Norman-Sicilian models (and thus subtly contradicted the „pan-Germanic“ myth). This „Byzantine“ reading has prevailed ever since, but does not stand up to scrutiny. It only serves to obscure the „pan-Germanic“ concept of the church. This contribution restores the „Germanic“ understanding and makes the point that the latter must be acknowledged in order to make proper sense of the church’s art and architecture, but also in order to face (rather than to downplay and conveniently forget) the racist-chauvinist character of German imperialism.
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Rahman, Sabrina. "‘Out of All That Is Alive and Felt’: The Austrian Werkbund and the Design of Social Democracy". Journal of Design History 32, n.º 4 (20 de mayo de 2019): 340–55. http://dx.doi.org/10.1093/jdh/epz015.
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Abstract This article analyses the interior designs of the Austrian Werkbund in the context of political designs for social democracy, focussing particularly on the 1932 Werkbundsiedlung as a site of aesthetic and cultural inclusion. By embracing the vernacular idioms of Central and Eastern European folk art, the Historicist style associated with nineteenth-century Austrian imperialism and the innovations of modern technology, the Werkbund represented an attempt to come to terms with the cultural legacy of the empire and to define the future of the Austrian state. In doing so, a comfortable, decidedly sentimental approach to design came to function as a site of encounter between history and ethnicity, offering a visual continuity between pre-1918 imperial Vienna and inter-war Red Vienna. Werkbund designers such as Josef Frank, Paul Fischel, Heinrich Kulka, Adolf Loos, Heinz Siller and Oskar Wlach were thus well positioned to contribute to the programme of eclectic decoration that was sponsored by the social democratic welfare initiatives of 1920s and 1930s Vienna.
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De Oliveira Elias, Tatiane. "A imagem artistica nos anos de chumbo / Artistic Image in the Years of Lead". Revista Internacional de Cultura Visual 4, n.º 1 (7 de agosto de 2017): 36–43. http://dx.doi.org/10.37467/gka-revvisual.v4.235.
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ABSTRACTThe Brazilian dictatorship (1964-1984) directly influenced Brazilian arts. Various artists addressed death, torture, and riot scenes in their works. This era of upheaval and oppression played an important role in Brazilian visual art, films, music, theater, literature and politics and is very important to understand avant-garde art of the time and the pronounced changes of the arts in general. In this paper I will examine the ways in which Brazilian artists have expressed and responded to the social, economic and political crisis of dictatorship. Moreover they resisted American cultural imperialism and displayed culture and social realities of Brazil.RESUMOHélio Oiticica (1937-1980) foi um artista brasileiro contemporâneo. Ele fez obras abstratas, performance, instalação, fotografia e filmes. Sua obra se insere em uma época em que o Brasil estava se modernizando com acontecimentos como, por exemplo, a construção de Brasília; a primeira Bienal de Artes de São Paulo; a presença de Max Bill (artista suíço) no Brasil.Oiticica esteve em Sussex em 1969 e em Nova Iorque no decorrer dos anos 70 e retornou ao Brasil (1978). O artista pôs sua obra - contextualizada entre os anos 50 a 80 - em contato com o meio social das favelas do Rio de Janeiro, com a escola de samba da Mangueira e com a criminalidade do Rio. Todos estes fatores apresentaram uma relação com sua obra.
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정병호. "The Studies on Formation of 'Japanese Literature' in Korea and Japanese Imperialism of 'Literary Art' Section in the Early Modern Times". Journal of Foreign Studies 14, n.º 1 (junio de 2010): 387–412. http://dx.doi.org/10.15755/jfs.2010.14.1.387.
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