"Many influential artists today draw on a legacy of 'stealing' images and forms from other makers. The term appropriation is particularly associated with the 'Pictures' generation, centred [sic] on New York in the 1980s; this anthology provides a far wider context. Historically, it reappraises a diverse lineage of precedents - from the Dadaist readymade to Situationist détournement - while contemporary 'art after appropriation' is considered from multiple perspectives within a global context." --back cover.
Popular media play an important role in reconstructing collective imaginations of history. Dramatic events and ruptures of the 20th century provide the material for playful as well as neo-imperialist and nationalist appropriations of the past. The contributors to the volume investigate this phenomenon using case studies from Belarusian, Russian and Ukrainian popular cultures. They show how in mainstream films, TV series, novels, comics and computer games, the reference to Soviet history offers role models, action patterns and even helps to justify current political and military developments. The volume thus presents new insights into the multi-layered and explosive dynamics of popular culture in Eastern Europe.
From the vernacular engineering of Latino car design to environmental analysis among rural women to the production of indigenous herbal cures-groups outside the centers of scientific power persistently defy the notion that they are merely passive recipients of technological products and scientific knowledge. This is the first study of how such "outsiders" reinvent consumer products-often in ways that embody critique, resistance, or outright revolt.Contributors: Richard M. Benjamin, Miami U; Hank Bromley, SUNY, Buffalo; Massimiano Bucchi, U of Trento, Italy; Carmen M. Concepcin, U of Puerto Rico; Virginia Eubanks, Rensselaer Polytechnic Institute; Lisa Gitelman, Catholic U; David Albert Mhadi Goldberg, California College of Arts and Crafts; Samuel M. Hampton; Michael K. Heiman, Dickinson College; Linda Price King; Valerie Kuletz; Lisa Jean Moore, College of Staten Island, CUNY; Brian Martin Murphy, Niagra U; Paul Rosen, U of York; Michael Scarce, Peter Taylor, U of Massachusetts, Boston; Turtle Heart.Ron Eglash is assistant professor at Rensselaer Polytechnic Institute. Jennifer Croissant is associate professor at the University of California. Giovanna Di Chiro is assistant professor at Allegheny College. Rayvon Fouch is assistant professor at Rensselaer Polytechnic Institute.
"Art" has always been contested terrain, whether the object in question is a medieval tapestry or Duchamp's Fountain. But questions about the categories of "art" and "art history" acquired increased urgency during the 1970s, when new developments in critical theory and other intellectual projects dramatically transformed the discipline. The first edition of Critical Terms for Art History both mapped and contributed to those transformations, offering a spirited reassessment of the field's methods and terminology. Art history as a field has kept pace with debates over globalization and other social and political issues in recent years, making a second edition of this book not just timely, but crucial. Like its predecessor, this new edition consists of essays that cover a wide variety of "loaded" terms in the history of art, from sign to meaning, ritual to commodity. Each essay explains and comments on a single term, discussing the issues the term raises and putting the term into practice as an interpretive framework for a specific work of art. For example, Richard Shiff discusses "Originality" in Vija Celmins's To Fix the Image in Memory, a work made of eleven pairs of stones, each consisting of one "original" stone and one painted bronze replica. In addition to the twenty-two original essays, this edition includes nine new ones—performance, style, memory/monument, body, beauty, ugliness, identity, visual culture/visual studies, and social history of art—as well as new introductory material. All help expand the book's scope while retaining its central goal of stimulating discussion of theoretical issues in art history and making that discussion accessible to both beginning students and senior scholars. Contributors: Mark Antliff, Nina Athanassoglou-Kallmyer, Stephen Bann, Homi K. Bhabha, Suzanne Preston Blier, Michael Camille, David Carrier, Craig Clunas, Whitney Davis, Jas Elsner, Ivan Gaskell, Ann Gibson, Charles Harrison, James D. Herbert, Amelia Jones, Wolfgang Kemp, Joseph Leo Koerner, Patricia Leighten, Paul Mattick Jr., Richard Meyer, W. J. T. Mitchell, Robert S. Nelson, Margaret Olin, William Pietz, Alex Potts, Donald Preziosi, Lisbet Rausing, Richard Shiff, Terry Smith, Kristine Stiles, David Summers, Paul Wood, James E. Young
Bringing the World Home sheds new light on China’s vibrant cultural life between 1895 and 1919—a crucial period that marks a watershed between the conservative old regime and the ostensibly iconoclastic New Culture of the 1920s. Although generally overlooked in the effort to understand modern Chinese history, the era has much to teach us about cultural accommodation and is characterized by its own unique intellectual life. This original and probing work traces the most significant strands of the new post-1895 discourse, concentrating on the anxieties inherent in a complicated process of cultural transformation. It focuses principally on how the need to accommodate the West was reflected in such landmark novels of the period as Wu Jianren’s Strange Events Eyewitnessed in the Past Twenty Years and Zhu Shouju’s Tides of the Huangpu, which began serial publication in Shanghai in 1916. The negative tone of these narratives contrasts sharply with the facile optimism that characterizes the many essays on the "New Novel" appearing in the popular press of the time. Neither iconoclasm nor the wholesale embrace of the new could square the contradicting intellectual demands imposed by the momentous alternatives presenting themselves. An electronic version of this book is freely available thanks to the support of libraries working with Knowledge Unlatched, a collaborative initiative designed to make high-quality books open access for the public good. The open-access version of this book is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0), which means that the work may be freely downloaded and shared for non-commercial purposes, provided credit is given to the author. Derivative works and commercial uses require permission from the publisher.
An international and multidisciplinary team addresses significant ethical questions about the rights to access, manage and interpret the material remains of the past.
Appropriating Shakespeare argues that the vibrant history of Pyramus and Thisbe as an independent text affirms the place of artist as both consumer and producer of Shakespeare. The playlet's four-century history is one that identifies Shakespeare's value as a transformative agent of aesthetic inquiry.
"This collection of essays demonstrates vividly how and why the life and writings of Kartini spark different meanings to different people across different continents and times for a wide range of reasons. Truly engaging and enlightening."—Professor Dr Ariel Heryanto, Herb Feith Professor for the Study of Indonesia at Monash University, and author of Identity and Pleasure: The Politics of Indonesian Screen Culture "An icon of colonial Indonesia and a postcolonial intellectual avant la lettre, Kartini straddles the subtle terrain between feminism, politics and memory. This beautifully crafted volume goes beyond the analysis of Kartini’s contested legacy as a national figure. It instead engages in an original way with Kartini as a highly remediated transnational celebrity, who has become a 'floating signifier'. This volume’s timely contribution is to reposition Kartini’s life, legacy and afterlife within the intersectional dynamics of gender, race, class, religion and sexuality that so shaped the origin, interpretation and impact of the 'Javanese princess' across time and space."—Professor Dr Sandra Ponzanesi, Professor of Gender and Postcolonial Studies, Utrecht University, The Netherlands, and author of The Postcolonial Cultural Industry: Icons, Markets, Mythologies "This rich collection of essays on the appropriation of Indonesian national heroine and international feminist icon Kartini provides an incisive insight into the multiple ways her brilliant letters have been read, interpreted and used. Progressive colonial administrators, anti-colonial nationalists, socialist feminists and conservative feminists during the military dictatorship of President Suharto alike appropriated her life and work to further their own divergent causes. I hope this anthology stimulates the (re) reading of the inspiring and still highly relevant words of this gifted, complex, rebellious Javanese woman, who died in childbirth at such a young age."—Professor Dr Saskia E. Wieringa, Professor of Gender and Women’s Same-sex Relations Cross-culturally, University of Amsterdam, author of Sexual Politics in Indonesia, and co-founder of the Kartini Asia Network
Does philosophy have a future? Postmodern thought, with its rejection of claims to absolute truth or moral objectivity, would seem to put the philosophical enterprise in jeopardy. In this volume some of today's most influential thinkers face the question of philosophy's future and find an answer in its past. Their efforts show how historical traditions are currently being appropriated by philosophy, how some of the most provocative questions confronted by philosophers are given their impetus and direction by cultural memory. Unlike analytic philosophy, a discipline supposedly liberated from any manifestation of cultural memory, the movement represented by these essays demonstrates how the inquiries, narratives, traditions, and events of our cultural past can mediate some of the most interesting exercises of the present-day philosophical imagination. Attesting to the power of historical tradition to enhance and redirect the prospects of philosophy these essays exemplify a new mode of doing philosophy. The product of a National Endowment for the Humanities Summer Institute in 1990, it is the task of this book to show that history can be reclaimed by philosophy and resurrected in postmodernity. Contributors. George Allan, Eva T. H. Brann, Arthur C. Danto, Lynn S. Joy, George L. Kline, George R. Lucas, Jr., Alasdair MacIntyre, Robert C. Neville, John Rickard, Stanley Rosen, J. B. Scheenwind, Donald Phillip Verene
