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Letteratura scientifica selezionata sul tema "Imperialism in art"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Imperialism in art"

Emery, Elizabeth. "Imperialism, Art and Restitution". Commonwealth Law Bulletin 32, n. 4 (dicembre 2006): 745–47. http://dx.doi.org/10.1080/03050710601179135.

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O'Connell, Mary Ellen, e Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution". International Journal of Cultural Property 12, n. 4 (novembre 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. 104 (luglio 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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Albert, Taneshia W., e Lindsay Tan. "Through the House of Slaves: A memorial to the origins of the Black diaspora". Art & the Public Sphere 10, n. 1 (1 luglio 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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Marcus, Anthony. "Aurora, a novel of art and anti-imperialism". Dialectical Anthropology 41, n. 3 (14 agosto 2017): 279–83. http://dx.doi.org/10.1007/s10624-017-9467-4.

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Vogt, Leonard. "The Poisonwood Bible, Lumumba, and A Congo Chronicle: Patrice Lumumba in Urban Art". Radical Teacher 113 (14 febbraio 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. 1 (1 aprile 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. 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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Tasrif, Muh. "DIMENSI SPIRITUAL KEBUDAYAAN DI TENGAH RELASI YANG TIMPANG ANTARA UTARA DAN SELATAN". El-HARAKAH (TERAKREDITASI) 10, n. 2 (10 agosto 2008): 107. http://dx.doi.org/10.18860/el.v10i2.4429.

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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. 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.

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Ballantyne, Andrew. "Specimens of Antient Sculpture: Imperialism and the decline of art". Art History 25, n. 4 (settembre 2002): 550–65. http://dx.doi.org/10.1111/1467-8365.00344.

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Tesi sul tema "Imperialism in art"

Guégan, Xavier. "Samuel Bourne and Indian natives : aesthetics, exoticism and imperialism". Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2218/.

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Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bourne & Shepherd became recognised as being a directing influence over British-Indian photography. The photographs were taken either in studio or on location, and included individual and group portraits of both the British and Indians, topographical images in which peoples were incidental, as well as a range of representations of Indian life, customs and types. These images were informed by, and in turn contributed to, an expanding body of photographic practice that mixed, to varying degrees, authenticity and aesthetic style. Whilst Bourne's work was significant and influential in the representation of Indian peoples, no substantial study has been undertaken until now. The aim of this thesis is to redress this imbalance. The central focus highlights the specific character of the images portraying Indian people. This specificity was determined by a combination of technical and 'authorial' factors, by the audience to which they were addressed — ranging from the general public in Britain to the family circle of wealthy Indians — by commercial considerations, and by current and evolving notions of authority, race and gender. The first two chapters seek to frame Bourne's work by first examining the political and cultural context of photography in India during the mid-nineteenth century, then by focusing on the context of the photographer's own production. The following three chapters are concerned with the study of the photographs themselves regarding what they depict and the questions they raise such as gender, racial identities and imperialism. The last chapter is an attempt to assess the significance of these photographs by comparing them with the work of Lala Deen Dayal, and highlighting different perspectives on Bourne's work regarding British India and Western societies. Placed in the context of the development of photography as a medium of record and representation, this thesis aims to show that Bourne's work is a significant historical source for understanding British cultural presence in post-Mutiny India.

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Tintin, Hodén. "Att visualisera Orienten : En närläsning av Linda Nochlins The Imaginary Orient utifrån Edward Said och John M Mackenzie". Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-11683.

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According to Edward Said the Orient is a European construction that has arisen out of a need to describe the Western civilisation as culturally superior. This occurrence Said gives the label "Orientalism". Art historian Linda Nochlin takes Said’s theories further in The Imaginary Orient where she conveys the thesis that the pictorial Orientalism is an expression of an imperialistic ideology. John M. Mackenzie, on the other hand is of the opinion that the pictorial Orientalism rather is an expression of the Romantic movement. To understand the Orientalist art we have to consider the social and historical context in which the work was created. By trying to justify the Orientalists choice of motive Mackenzie takes the view of those who consider art history as a positive discipline. Nochlin on the other hand means that we instead of fortifying the art historical canon we ought to politicize it, which only is possible if we contemplate art history as a critical rather than a positive discipline.

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Pierce, Alexandria 1949. "Imperialist intent - colonial response : the art collection and cultural milieu of Lord Strathcona in nineteenth-century Montreal". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84197.

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This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona's collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona's activities, Anthony Giddens's structuration theory is introduced to account for how personal agency remains operative within this dominant ideology.
Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian's concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan's work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle.
This thesis makes use of primary source materials to compare Strathcona's collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914--1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.

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Christensen, Peter Hewitt. "Architecture, Expertise and the German Construction of the Ottoman Railway Network, 1868-1919". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11375.

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The dissertation examines the production of knowledge and architecture through the German-sponsored construction of the Ottoman railway network, comprising four discrete projects: the railways of European Turkey, the Anatolian railways, the Baghdad railway and the Hejaz railway and its Palestinian tributaries. The German construction of the Ottoman railway network is an historic event that proffers the opportunity to critically reconsider the epistemological tenets of expertise in broader political, economic and cultural structures distinct from the normative creative processes that dominate the historiography of empires. The dissertation capitalizes on the ambiguous colonial nature of the German role in the architecture, engineering, and urbanism of the late Ottoman empire and situates it as a variegated and occasionally dialogic model of European cultural expansionism by way of a process identified here as ambiguous transmutation.

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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.

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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business practices, and chromolithographic printmaking. Discussion of the transition of this collection into a museum art collection covers its consequent registration, conservation, and exhibition. Finally, this thesis project considers the advantages and disadvantages of managing an art collection at a botanical garden.

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Young, Tom. "Art in India's 'Age of Reform' : amateurs, print culture, and the transformation of the East India Company, c.1813-1858". Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285900.

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Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of India Act, arguing that the art produced during this period was implicated in the political process by which the conquests of a trading venture were legislated and 'reformed' to become the colonial possessions of the British Nation. Over two parts, each comprised of two chapters, two overlooked media are connected to 'reforms' that have traditionally been understood as atrophying artistic production in the subcontinent. Part I relates amateur practice to the reform of the Company's civil establishment, using an extensive archive associated with the celebrated amateur Sir Charles D'Oyly (1781-1845) and an art society that he established called the Behar School of Athens (est.1824). It argues that rather than citing the Company's increasing bureaucratisation as the cause of a decline in fine art patronage, it is crucial instead to recognise how amateur practice shaped this bureaucracy's collective identity and ethos. Part II connects the production and consumption of illustrated print culture to the demographic shifts that occurred as a result of the repeal of the Company's monopolistic privileges in 1813 and 1833, focusing specifically on several costume albums published by artists such as John Gantz (1772-1853) and Colesworthy Grant (1813-1880). In doing so, it reveals how print culture provided cultural capital to a transnational middle class developing across the early-Victorian Empire of free trade. Throughout each chapter, the gradual undermining of the East India Company's sovereignty by a centralising British State is framed as a prerequisite to the emergence of the nation-state as the fundamental category of modern social and political organisation. Art in India's 'Age of Reform' therefore seeks not only to uncover the work and biographies of several unstudied artists in nineteenth-century India, but reveals the significance of this overlooked art history to both the development of the modern British State, and the consequent demise of alternative forms of political corporation.

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Rosengren, Sara. "HAVE YOU EVER SEEN THE CROWD GOIN’ APESHIT, LOUVRE? : En kvalitativ studie om svart representation i musikvideon Apeshit". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194508.

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Denna uppsats undersöker musikvideon Apeshit, av The Carters, som spelades in på Louvren och hur den tar upp frågor om svart representation. Syftet med studien handlar om att bidra med kunskap om hur representation visualiseras samt dess effekter. En ytterligare ambition handlar om responsen videon fick, som bland annat resulterade i Louvrens guidade tur Beyoncé and Jay-Z’s Louvre Hightlights. Studien har till syfte att analysera detta utifrån svart representation och demokratisering. Genom ett postkolonialt perspektiv med fokus på Stuart Halls kulturella hegemoni och Richard Dyers vithetsbegrepp har studien kunnat ge uttryck i dessa frågor om svart visuell representation. Som metod har uppsatsen använt sig av en formal- och kontextanalys för att uttolka musikvideons underliggande budskap. Studiens slutresultat belyser de medel som använts i musikvideon för att lyfta frågor som berör svart representation och rasism.

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Carlson, Jack. "Images, objects and imperial power in the Roman and Qin-Han empires". Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:61edd022-db89-4af6-bd21-3da3a593c390.

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How and why was imperial power made visually and physically manifest in two similar, contemporaneous megastates - the Roman Principate and Qin-Han China? Framing the Chinese and Roman material within such a question breaks it free from the web of expectations and assumptions in which conventional scholarship almost always situates it. It also builds upon the limited but promising work recently undertaken to study these two empires together in a comparative context. The purpose of this thesis is not to discover similarities and differences for their own sake; but, by discovering similarities and differences, to learn about the nature of imperial authority and prestige in each state. The comparative method compels us to appreciate the contingent - and sometimes frankly curious - nature of visual and artefactual phenomena that have traditionally been taken for granted; and both challenges and empowers us to access higher tier explanations and narratives. Roman expressions of power in visual terms are more public, more historical- biographical, and more political, while Qin-Han images and objects related to imperial authority are generally more private, generic and ritual in their nature. The Roman material emphasizes the notional complicity of large groups of people - the imperial subjects who viewed, crafted and often commissioned these works - in maintaining and defining the emperor's power. If the Han emperor's power was the product of complicity, it was the complicity of a small group of family members and courtiers - and of Heaven. These contrasting sets of power relationships connect to a concerted thematic focus, in the case of Rome, on the individual of the princeps; that is, the individual personage and particular achievements - especially military achievements - of the emperor. This focus is almost always taken for granted in Roman studies, but contrasts profoundly with the thematic disposition of Han artefacts of power: these reflect a concentrated disinterest in imperial personality altogether, emphasizing instead the imperial position; that is, both the office of emperor and a cosmic centrality. While this thesis reveals some arresting contrasts, it also harnesses the dichotomous orientations of Roman and Chinese archaeology to reveal that the conventional understanding of much of this material can be misleading or problematic. Many of the differences in the ways such images are usually interpreted have as much to do with the idiosyncrasies and path dependency of two fields - in short as much to do with the modern viewer - as they do with the images themselves and the traditions that produced them.

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Strydom, Richardt. "A comparative reading of the depiction of Afrikaner ancestry in two works by C.D. Bell / Richardt Strydom". Thesis, North-West University, 2009. http://hdl.handle.net/10394/4987.

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This dissertation investigates the contradictions and similarities regarding the depictions of Afrikaner ancestry in two works by Charles Davidson Bell: The landing of Van Riebeeck, 1652 (1850) and Cattle boers' outspan (s.a.). The works were discussed and compared from a conventional perspective in order to establish the artworks' formal qualities, subject matter and thematic content This reading was extended by employing postcolonial theoretical principles in order to contextualise these two artworks within their Victorian ideological frameworks, social realities and authoring strategies. The extended comparative reading revealed a number of similarities and contradictions regarding the artist's depiction of Afrikaner ancestry in these two works. Postcolonial theory further facilitated a more comprehensive and dense reading of the chosen artworks, as well as of the artist's oeuvre.
Thesis (M.A. (History of Arts))--North-West University, Potchefstroom Campus, 2010.

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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS". Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.

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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Folkets Ateljé, which has never been studied before, was a close knit underground group which created quick and immediate responses to concurrent political issues. This group was founded on the example of Atelier Populaire in France and is strongly related to its practices. Within this comparative study it is the group that comes closest to collective practises around 1968 outside Scandinavia, namely the democratic assembly. The silkscreen workshop GRAS stemmed from the idea of economic and artistic freedom, although socially motivated and politically involved, the group never implemented any doctrine for participation. The aim of this transnational study is to reveal common denominators to the three groups' poster art as it was produced in connection with a Scandinavian experience of 1968. By ‘1968' it is meant the period from the late 1960s till the end of the 1970s. It examines the socio-political conditions under which the groups flourished and shows how these groups operated in conjunction with the political environment of 1968. The thesis explores the relationship between political movements and the collective art making process as it appeared in Scandinavia. To present a comprehensible picture of the impact of 1968 on these groups, their artworks, manifestos, and activities outside of the collective space have been discussed. The argument has presented itself that even though these groups had very similar ideological stances, their posters and techniques differ. This has impacted the artists involved to different degrees, yet made it possible to express the same political goals. It is suggested to be linked with the Scandinavian social democracies and common experience of the radicalisation that took place mostly in the aftermath of 1968 proper. By comparing these three groups' it has been uncovered that even with the same socio-political circumstances and ideological stance divergent styles did develop to embrace these issue.

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Più fonti

Libri sul tema "Imperialism in art"

Henry, Merryman John, a cura di. Imperialism, art and restitution. Cambridge: Cambridge University Press, 2006.

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1967-, Scott Sarah, e Webster Jane, a cura di. Roman imperialism and provincial art. Cambridge, UK: Cambridge University Press, 2003.

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Yorgun, İbrahim. The patronage of the mightier: Ankara's cross-Atlantic prescriptions from America in the 50s. Istanbul: Libra, 2019.

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Durakovic, Nermin, e Jeppe Wedel-Brandt. Hvidt støv: En antologi om 'busteaktionen' og det vi taler om, når vi taler om den. Aarhus: Antipyrine, 2021.

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Sung, Victoria, e Liv Porte. Candice Lin: Seeping, rotting, resting, weeping. Cambridge, MA: Carpenter Center for the Visual Arts, 2021.

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Martial, Jacques, e J. A. Mbembé. Sexe, race & colonies. Paris: La Découverte, 2018.

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Yūko, Kikuchi, a cura di. Refracted modernity: Visual culture and identity in colonial Taiwan. Honolulu: University of Hawaii Press, 2007.

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Soulages, François. Frontières & artistes: Espace public, mobilité, (post)colonialisme en Méditerranée. Paris: L'Harmattan, 2014.

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Sara, Friedrichsmeyer, Lennox Sara e Zantop Susanne 1945-, a cura di. The imperialist imagination: German colonialism and its legacy. Ann Arbor: University of Michigan Press, 1998.

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(Gallery), São Roque. Portugal, the first global empire. Lisboa: São Roque, antiquités et galerie d'art, 2018.

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Capitoli di libri sul tema "Imperialism in art"

Howes, Jennifer. "Landscape and imperialism". In The Art of a Corporation, 51–77. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003379515-3.

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Lin, Yuexin Rachel. "“We Are on the Brink of Disaster”". In Competing Imperialisms in Northeast Asia, 157–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003126430-13.

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King, Anthony D. "Art, globalization, and imperialism". In Art and Globalization, 158–60. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-020.

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King, Anthony D. "ART, GLOBALIZATION, AND IMPERIALISM". In Art and Globalization, 158–60. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp91q.22.

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Williams, Jonathan. "From Polybius to the Parthenon: Religion, Art, and Plunder". In Imperialism, Cultural Politics, and Polybius, 278–97. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199600755.003.0016.

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"9. Family Values: Art and Power at Ghirza in the Libyan Pre-desert". In Imperialism, Power, and Identity, 246–68. Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400848270-015.

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Worcester, Kent. "Art Spiegelman and 9/11". In Artful Breakdowns, 155–74. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496837509.003.0007.

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This chapter considers the extent to which Art Spiegelman's post-9/11 interventions were “inflamed” by explicitly political concern. While there are well-researched accounts that acknowledge the engagé overtones of Spiegelman's output in this period, the chapter highlights that scholars like Hillary Chute and Ted Gournelos seem oddly reluctant to differentiate Spiegelman's approach and outlook from contending perspectives. The chapter aims to locate Spiegelman's early twenty-first-century cultural and artistic practice in the context of longstanding debates on the left, broadly defined, over liberal values, foreign policy, and religious extremism. It argues that Spiegelman's interventions in this period were organized around three main principles: first, a robust defense of classical liberal and Enlightenment values; second, a refusal to downplay the magnitude and significance of 9/11 by subsuming it within larger narratives about imperialism and anti-imperialism; third, consistent opposition to both state militarism and violent extremism. The chapter assesses how these positions placed him at odds not only vis-à-vis conservatives and Republicans, but also liberal humanitarian interventionists.

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"OUR WORLD ART HISTORY IS IMPERIALISM SEEN AESTHETICALLY". In A World Art History and Its Objects, 117–29. Penn State University Press, 2008. http://dx.doi.org/10.5325/j.ctv14gpcs2.16.

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"Visibility and Veiling: Iranian Art on the Global Scene". In Seen and Unseen: Visual Cultures of Imperialism, 172–95. BRILL, 2017. http://dx.doi.org/10.1163/9789004357013_010.

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"9 Our World Art History Is Imperialism Seen Aesthetically". In A World Art History and Its Objects, 117–30. Penn State University Press, 2008. http://dx.doi.org/10.1515/9780271036069-014.

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Atti di convegni sul tema "Imperialism in art"

Andrew, Gretchen. "Search Engine Art: Internet Imperialism and the image in context". In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.17.

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Liu, Yiding. "A Brief History of Cruisers, Witnesses of the Colonial Imperialism". In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.526.

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Chen, Xinyi, e Siwen Shen. "Review of the Impact of Cultural Imperialism in the Context of Globalization to the Film Industry". In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.041.

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Dymovska, A. K. "Representation of Russian «pagan imperialism» in the song by Alexandra Pakhmutova and Nikolai Dobronravov «Enchanted Rus»". In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-7.

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Yamada, Etsuko. "The Views on Linguistic Imperialism in Multicultural Classroom". In The IAFOR International Conference on Arts & Humanities – Hawaii 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2432-4604.2023.36.

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Imanishi, Raquel. "Cidade, memória e literatura na infância berlinense de Walter Benjamin". In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3800.

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W. Benjamin escreveu a Infância berlinense entre 1932 e 1938. Sobre essa coleção de reminiscências em miniatura diz um dos biógrafos do filósofo não se tratar de um olhar nostálgico para a vida vivida, mas antes da “tentativa de pôr ante os olhos, através da escrita, a constelação alterada de relações políticas, sociais e culturais de toda uma vida”. Apreensão moderna e contraditória de um passado sem volta, o livro talvez possa ser lido como vestígio de uma história de que se tem pouca notícia. Nascido em 1892 em BerlimCharlottemburg, Benjamin não só cresceu numa cidade que se transformava, mas numa nação unificada pelo alto, na qual prosperava uma “vontade de potência” imperialista. É a esse tempo cheio de mudanças e promessas, que termina em 1914, que Benjamin recorre na aurora de uma segunda catástrofe, a qual não sobreviveria. A leitura de um misterioso fragmento desse livro pretende retomar os nexos entre cidade, memória e literatura.

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Mary, D. Christina Sagaya. "Linguistic Imperialism and the Extrinsic Motivation of the First Generation L2 Learners in a Heterogeneous ESL Classroom". In The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.26.

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LekiaSvili, Tamriko. "Russian Imperialist Interests in the South Caucasus in the XVI-XVII Centuries (According to the Questionnaires of the Russian Ambassadors)". In The 4th International Conference on Social Sciences, Humanities, and Arts. Global Ks, 2023. http://dx.doi.org/10.33422/4th.icsha.2023.04.002.

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Maroufmashat, Azadeh, Farid Sayedin e Sourena Sattari. "Multi Objective Optimization of Direct Coupling Photovoltaic-Electrolyzer Systems Using Imperialist Competitive Algorithm". In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-39765.

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Photovoltaic-electrolyzer systems are one of the most promising alternatives for obtaining hydrogen from a renewable energy source. Determining size and the operational conditions are always a key issue while coupling directly renewable electricity sources to PEM electrolyzer. In this research, the multi objective optimization approach based on an imperialist competitive algorithm (ICA), which is employed to optimize the size and the operating conditions of a directly coupled photovoltaic (PV)-PEM electrolyzer. This allows the optimization of the system by considering two different objectives, including, minimization of energy transfer loss and maximization of hydrogen generation. Multi objective optimization of PV/EL system predicts a maximum hydrogen production of 7930 gr/yr for energy transfer loss of 16.48 kWh/yr and minimum energy transfer loss of 5.21 kWh/yr at a hydrogen production rate of 7760 gr/yr for a the given location and the PV module.

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Lie, Anita, Siti Mina Tamah, Trianawaty e Fransiskus Jemadi. "Challenges and Resources in Enhancing English Teachers’ Proficiency". In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.9-2.

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This study addresses the conflicting views of the role of English as a means of global communication. Responding to the growing need to foster communicative abilities in English, schools in Indonesia are driven to make their students proficient in English. However, the majority of English teachers themselves might not be adequately prepared to use English as a means of communication; improving their English proficiency and the willingness to communicate in English (Clement, 2003) has thus become a matter of concern amidst the prevailing resistance to English as the language of the imperialist. The present study focuses on teachers’ English proficiency, which has been recognized as an important qualification for successful English teaching. Thirty secondary school teachers of English who were participating in an in-service professional development program were asked to self-assess their English proficiencies based on the ACTFL guidelines as well as to identify their challenges and resources. The teachers assessed their proficiencies in interpersonal communication, presentational speaking, presentational writing, interpretive listening, and interpretive reading. The study also conducted in-depth interviews of selected teachers. This study found that teachers strive to build their willingness to communicate in English despite challenges, and still grapple to improve their proficiency. They employ various resources to overcome the prevailing challenges.

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Rapporti di organizzazioni sul tema "Imperialism in art"

Lyzanchuk, Vasyl. COMMUNICATIVE SYNERGY OF UKRAINIAN NATIONAL VALUES IN THE CONTEXT OF THE RUSSIAN HYBRID WAR. Ivan Franko National University of Lviv, febbraio 2021. http://dx.doi.org/10.30970/vjo.2021.49.11077.

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The author characterized the Ukrainian national values, national interests and national goals. It is emphasized that national values are conceptual, ideological bases, consolidating factors, important life guidelines on the way to effective protection of Ukraine from Russian aggression and building a democratic, united Ukrainian state. Author analyzes the functioning of the mass media in the context of educational propaganda of individual, social and state values, the dominant core of which are patriotism, human rights and freedoms, social justice, material and spiritual wealth of Ukrainians, natural resources, morality, peace, religiosity, benevolence, national security, constitutional order. These key national values are a strong moral and civic core, a life-giving element, a self-affirming synergy, which on the basis of homogeneity binds the current Ukrainian society with the ancestors and their centuries-old material and spiritual heritage. Attention is focused on the fact that the current problem of building the Ukrainian state and protecting it from the brutal Moscow invaders is directly dependent on the awareness of all citizens of the essence of national values, national interests, national goals and filling them with the meaning of life, charitable socio-political life. It is emphasized that the missionary vocation of journalists to orient readers and listeners to the meaningful choice of basic national values, on the basis of which Ukrainian citizens, regardless of nationality together they will overcome the external Moscow and internal aggression of the pro-Russian fifth column, achieve peace, return the Ukrainian territories seized by the Kremlin imperialists and, in agreement will build Ukrainian Ukraine.

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