scholarly journals Regards croisés sur les mondes de l’autoportrait : le cas des artistes d’origine marocaine Hicham Benohoud, Mehdi-Georges Lahlou et Zakaria Ramhani

2018 ◽  
Vol 9 (1) ◽  
pp. 61-78
Author(s):  
Alexia Pinto Ferretti
Keyword(s):  
Art World ◽  
The West ◽  
Political Situation ◽  
Local Characteristics ◽  
Career Trajectories ◽  
Integration Mechanisms ◽  
International Success ◽  
Muslim Culture

This article takes a contemporary look at the practice of self-portraiture by three artists from Morocco: Hicham Benohoud, Mehdi-Georges Lahlou and Zakaria Ramhani. The career trajectories of these creators illustrate the various dynamics of institutional opposition and integration mechanisms that belong to the new geographies of art, in the era of globalization. The article's goal is to investigate the manner in which individual, local and global concerns are expressed in their understanding of an imaginary projection of corporality. The works are studied through the lens of local characteristics particular to the artist's Maghreb-Muslim culture. In the first section, the artists' careers, in relation to their training and the places where they have exhibited their work, are presented in tandem with the paradoxes of globalization. It is thus specified that if the artists were trained primarily in the West or made their careers there to achieve international success, it can be attributed to a lack of support from the Moroccan artistic scene, but also to the difficult access to the international art world for artists coming from the art scenes of the Maghreb. In the second part, we postulate that the artists' self-portraits attest to the different issues related to Maghreb-Muslim culture, such as the current socio-political situation in Morocco and the Islamic ban on representation. Lastly, we maintain that these self-portraits are a wider reflection of the varied concerns that transcend the borders of the Maghreb, as the artists reflect on the meeting of the Eastern and Western worlds.

Choice in the West

1953 ◽  
Vol 5 (2) ◽  
pp. 133-167
Author(s):  
S. Bernard
Keyword(s):  
United States ◽  
World War Ii ◽  
Soviet Union ◽  
The United States ◽  
The Political ◽  
World War ◽  
The West ◽  
Political Situation ◽  
The Soviet Union ◽  
Working Out

The advent of a new administration in the United States and the passage of seven years since the end of World War II make it appropriate to review the political situation which has developed in Europe during that period and to ask what choices now are open to the West in its relations with the Soviet Union.The end of World War II found Europe torn between conflicting conceptions of international politics and of the goals that its members should seek. The democratic powers, led by the United States, viewed the world in traditional, Western, terms. The major problem, as they saw it, was one of working out a moral and legal order to which all powers could subscribe, and in which they would live. Quite independently of the environment, they assumed that one political order was both more practicable and more desirable than some other, and that their policies should be directed toward its attainment.

Moving against Disappearance

2017 ◽  
Author(s):  
Jens Richard Giersdorf
Keyword(s):  
East Germany ◽  
The Other ◽  
The Political ◽  
Political Systems ◽  
Berlin Wall ◽  
The West ◽  
Pedestrian Movement ◽  
Political Situation ◽  
The Social ◽  
East German

Nearly a year after the fall of the Berlin Wall, East Germany was subsumed into the West German national structure. As a result, the distinct political systems, institutions, and cultures that characterized East Germany have nearly completely vanished. In some instances, this history was actively—and physically—eradicated by the unified Germany. This chapter works against the disappearance of East German culture by reconstructing the physicality of the walk across the border on the day of the opening of the Berlin Wall and two choreographic works depicting East German identities on stage. The initial re-creation of the choreography of a pedestrian movement provides a social, political, and methodological context that relates the two dance productions to the social movement of East German citizens. Both works take stances on the political situation in East Germany during and after the opening of the Berlin Wall in 1989, although one is by a West German artist, Sasha Waltz, and the other by East German choreographer Jo Fabian.

scholarly journals Russia and the West: Politics, history, culture

2005 ◽  
Vol 57 (3) ◽  
pp. 284-318
Author(s):  
Nikola Tanasic
Keyword(s):  
The West ◽  
Global Society ◽  
Political Values ◽  
Political Situation ◽  
Global Problems ◽  
Cultural Crisis ◽  
The Future ◽  
History Of

The author firstly examines cultural and historical potentials of Russia, analysing them in their positive and negative aspects. Western ability to fully confront contemporary problems is then challenged through a brief account of the cultural crisis in its society in order to establish, through an analysis of the specific reception of that crisis in Russia, whether it can offer new, fresh and/or different solutions to global problems. Finally, basic Russian cultural and political values are depicted through the history of their actions globally and the power and significance of those values is defended as exceptionally fruitful for appliance to the contemporary socio-political situation, as to the challenges that lay before the global society in the future.

scholarly journals The Return to Kalokagathia: Curating as Leverage in the Ongoing Dialogues between Aesthetics and Ethics

Philosophies ◽  
2020 ◽  
Vol 5 (4) ◽  
pp. 29
Author(s):  
Suzana Milevska
Keyword(s):  
Art Criticism ◽  
Art World ◽  
Art Theory ◽  
Ancient Greek ◽  
The West ◽  
Ethical Concerns ◽  
Catalyst Potential ◽  
Ethical Responsibilities

This essay argues that curating brought back a kind of leverage that redressed the otherwise imbalanced relationship between aesthetics and ethics. Curating lends out to art its innocent and aspirational belief in such a balance because the ethical concerns in art theory and art criticism have long been toned down while form was prioritized over content. Ever since the curatorial profession created its own niche in the art world—started, for example, in the West, in the late 1960s with curators such as Siegelaub, Szeemann, or Lippard—curating began to mediate this relationship, thus helping to activate the catalyst potential of art without having to compromise its formal aspects. More specifically, this essay explores the ways in which theories and practices of curating brought back to mind the ancient Greek notion of kalokagathia, the intertwinement of aesthetics and ethics and, with it, other ethical responsibilities, principles, and values that art forgot to address while giving privilege to its formal aspects.

The politics of identity and recognition in the ‘global art world’

2018 ◽  
Author(s):  
Anne Ring Petersen
Keyword(s):  
Cultural Identity ◽  
Identity Politics ◽  
Critical Discourse ◽  
Art World ◽  
Politics Of Identity ◽  
The West ◽  
Western Art ◽  
The Status ◽  
To Come ◽  
Global Art

Questions of cultural identity and the status of non-Western artists in the West have been important to the discourses on the interrelations between contemporary art, migration and globalisation for at least two decades. Chapter 2 considers the connections between the critical discourse on cultural identity, the globalisation of the art world and the adoption of multicultural policies by Western art institutions. It critically engages with the British discourse on ‘New Internationalism’ in the 1990s as well as the wider and more recent discourse on ‘global art’. It is argued that discussions from the last twenty-five years have not only made it clear that institutional multiculturalism is not the answer to the challenge of attaining genuine recognition of non-Western artists in the West, but also revealed that the critical discourse on identity politics has not been able to come up with solutions, either. In fact, it is marred by the same binary thinking and mechanisms of exclusion that it aims to deconstruct. Chapter 2 concludes with two suggestions to how we can get beyond the deadlock of the critical discourse on identity politics.

Capital of Culture

2020 ◽  
pp. 137-150
Author(s):  
Rohan McWilliam
Keyword(s):  
Intellectual Capital ◽  
Classical Music ◽  
Art Music ◽  
Creative Industry ◽  
Art World ◽  
Intellectual Work ◽  
The West ◽  
Major Site ◽  
Art And Culture ◽  
Opera House

This chapter examines the West End as a place for the formation of cultural and intellectual capital. This dimension to the West End was associated with the construction of high art and culture. The chapter looks at painting, music, and the literary and journalistic worlds. Each in their different way was a flourishing creative industry, demonstrating how the West End could employ art and intellectual work to propel the economy. The art world developed an extensive network of galleries particularly around Bond Street. The concert world was boosted by the creation of the St James’s Hall which made classical music more widely available while the Royal Opera House in Covent Garden increasingly displaced Her Majesty’s Theatre as the centre of the operatic world. The emergence of Gilbert and Sullivan showed how the district could be the site of new musical forms. The Strand area in turn became a major site for the construction of networks among the literary intelligentsia. The overlays, contrasts, and juxtapositions between art, music, and journalism was what gave the West End its character.

scholarly journals Art Funds in China: Developments and Limitations

Arts ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 4
Author(s):  
Linli Li
Keyword(s):  
Financial Crisis ◽  
Chinese Art ◽  
Art World ◽  
The West ◽  
2008 Financial Crisis ◽  
Chinese Context ◽  
Significant Area ◽  
The 2008 Financial Crisis ◽  
The Relationship ◽  
Pragmatic Attitude

This paper focuses on a type of worldwide art investment vehicle in an unexplored yet significant area: the Chinese art fund. It seeks to understand why art funds exploded in China after the 2008 financial crisis and how they have developed new features in the Chinese context. Further, it discusses the relationship between Chinese art funds and the Chinese art world. While these two groups tend to be what sociologists call “hostile worlds” in the West, my study shows that actors in the Chinese art world tend to take a pragmatic attitude toward capital. Thus, art funds face fewer social limitations in the Chinese art world than their Western counterparts. However, Chinese art funds face limitations in terms of accessibility, credibility, and liquidity. These limitations have been caused mainly by a series of regulations launched since 2013, which has primarily resulted in a decline of art funds in China.

scholarly journals Byron’s Politics in “The Giaour”: A Socio-Political Speculation

2014 ◽  
Vol 39 ◽  
pp. 77-84
Author(s):  
Savo Karam
Keyword(s):  
Ottoman Empire ◽  
Political Ideology ◽  
Lord Byron ◽  
The West ◽  
Main Thrust ◽  
Western Literature ◽  
Political Propaganda ◽  
Political Situation ◽  
Global Affairs ◽  
Oriental Tale

Historically, Europe was fearful of the remarkably swift expansion of the Ottoman Empire in the 16th century. And it was not until the middle of the 18th century that the brutal struggle between Europeans and Turks ended; but the West then still situated Turkey in an indelible, despotic frame despite the fact that some scholars instigated an interest in Oriental culture. Western literature had for centuries portrayed the East in an aggressive and bigoted manner; this hostile perception distanced the West from the Orient. A new political situation prevailed as the West began a political propaganda to dominate the weak East; that political and even literary propaganda was the main thrust for the Western colonial ambitions. Several British men of letters directly or indirectly contributed to this propaganda during the 18th and 19th centuries, but not Lord Byron, who used his Oriental tales, and specifically “The Giaour,” to broaden his political horizon in order to re-evaluate both state and global affairs and to reveal to Eastern and Western readers his impartial stance towards European and Turkish policies. In this work, I contend that Byron’s political ideology was prompted by not only an idealistic Romantic spirit but also by a realistic one, as well. And although “The Giaour” is political par excellence, yet it does not reveal any colonial, imperial schemes, contrary to what a number of critics think. Peter Cochran believes that “The Giaour” is “… a metaphor for western imperialist expansion into and forcible domination of eastern countries” (Cochran Byron and Orientalism 2), while deceitfully supporting nations desiring autonomy in the Occident. Cochran discerns in Byron’s tale the Western longing for subjugating and governing the East. This study, however, proves that Byron’s 1st Oriental tale after his return from his 1st Oriental tour is emblematic of his concern with liberalism and with admiration for the East, thus deviating from the popular imperialism that existed at the time.

scholarly journals The binary star

2021 ◽  
Vol 18 (68) ◽  
pp. 50-55
Author(s):  
Elena Bagina
Keyword(s):  
New World ◽  
Binary Star ◽  
The Political ◽  
The West ◽  
Real Situation ◽  
Avant Garde ◽  
Political Situation ◽  
Unique Style ◽  
Contemporary Architecture ◽  
National Architecture

Baroque and classicism were called a binary star. In the national architecture, the avant-garde and neoclassicism can be also called a binary star. The model of succession of styles in architecture does not reflect the real situation in the 1920-1950s. Neoclassicism and different movements of “contemporary architecture” run parallel to each other both in the West and in the USSR. In the 1920s, the avant-garde was brighter, while In the 1930-1950s in the USSR – neoclassicism. “The new world of socialism” was observed in the patterns of “contemporary architecture” by party ideologists headed by Lev Trotsky. In the 1930s, the political situation changed, and the patterns of the “new world” came down to earth and acquired historical roots. The interaction of the avant-garde and neoclassicism produced a unique style of the epoch. Unfortunately, the monuments of that epoch decay very quickly.

scholarly journals http://habibiaislamicus.com/index.php/hirj/article/view/215

2021 ◽  
Vol 5 (2) ◽  
pp. 51-61
Author(s):  
Lubna Farah ◽  
◽  
Abdul Bari Owais
Keyword(s):  
20Th Century ◽  
Short Story ◽  
Arabic Language ◽  
Early 20Th Century ◽  
Human Being ◽  
The West ◽  
Islamic Civilization ◽  
Modern Era ◽  
Muslim Culture ◽  
As If

This research is an attempt to trace and corelate the evolution of short story in the Arabic and Urdu languages besides highlighting contributions made by the most prominent pioneers and the trends prevailing in different eras of both the languages. The short story is one of the most famous and widely read genres of fiction that seems to answer almost everything near to the nature of human being and whenever it is narrated it feels as if, something exceptional has been created which contains substance of our inferred experience and transitory sense of our common, tempestuous journey of life. Irrespective of the prevailing belief that short story also belongs to the West, its roots in the Arabic language go back to the pre-Islamic times and especially the Golden Age of Islamic civilization which spans from the 8th to the 14th centuries. Anecdotes of the Bedouins and the rhymed Ma’qama were the early foundations of short story in the Arabic language. Then this art reached its epitome in the modern era by the big names like al-Manfaluti, Tawfiq al-Hakim, Naguib Mahfouz, Yahya Haqqi, Ihsan Abdul Quddus, Yusuf Idris and Hasib Kayali. Likewise, the Urdu language that is a product of centuries long interaction between the native Indians and the invading Muslim culture, has borrowed the genre of short story form diverse sources. Then it was matured in the early 20th century by the pioneers like Rashid al-Khairi, Sajjad Haider Yaldram, Saadat Hasan Manto, Ahmed Nadeem Qasmi, Mansha Yaad and Intizar Hussain.

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