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Journal articles on the topic 'Appropriation (Art)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Hunter, Lisa. "Art of Appropriation." Afterimage 36, no. 1 (July 1, 2008): 22. http://dx.doi.org/10.1525/aft.2008.36.1.22.

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2

Sang jeong Lee. "Appropriation art and Copyright." Seoul Law Review 18, no. 1 (May 2010): 319–52. http://dx.doi.org/10.15821/slr.2010.18.1.010.

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3

Young, James O. "Art, authenticity and appropriation." Frontiers of Philosophy in China 1, no. 3 (September 2006): 455–76. http://dx.doi.org/10.1007/s11466-006-0019-2.

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4

Schiller, Shu Z., and Munir Mandviwalla. "Virtual Team Research." Small Group Research 38, no. 1 (February 2007): 12–59. http://dx.doi.org/10.1177/1046496406297035.

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Recent information systems research has studied various aspects of virtual teams. However, the foundations and theoretical development of virtual team research remain unclear. We propose that an important way to move forward is to accelerate the process of theorizing and theory appropriation. This article presents an in-depth analysis of the current state of the art of theory application and development in virtual team research. We identify the frequency, pattern of use, and ontological basis of 25 virtual team-relevant theories. A researcher’s tool kit is presented to promote future theory application and appropriation. The tool kit consists of a descriptive and analytical database of theories relevant for virtual team research. We also present a framework for appropriating virtual team theories based on seven criteria. A detailed example demonstrates the application of the theory appropriation framework. The article contributes to the literature by presenting the state of the art of theory use in virtual team research and by providing a framework for appropriating reference-discipline theories.
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5

Lafrenz. "Art across Cultures and Art by Appropriation." Journal of Aesthetic Education 54, no. 2 (2020): 1. http://dx.doi.org/10.5406/jaesteduc.54.2.0001.

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6

BÜLBÜL, Handan. "Appropriation Method in Visual Art Teacher Education Painting Art Studio Course." International Education Studies 16, no. 4 (July 24, 2023): 77. http://dx.doi.org/10.5539/ies.v16n4p77.

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This research is a case study aiming to reveal the experiences of art students towards the activity of “reproduction through appropriation”. During the activity process, students were firstly informed about appropriation and the art of appropriation, especially the works in which two works of art were appropriated by integrating them, and each student was asked to identify two works of art to be appropriated. Students made sketches by establishing relational links between the two works they chose. In the last stage, students were expected to make a new artistic production. In this research, which was conducted with the participation of 8 students attending the art studio course, the experiences of the students regarding the process formed the unit of analysis. Worksheets, process evaluation form and artworks were used as data sources. As a result of the research, it was identified that the students were able to produce thoughts about the concepts emerging with appropriation and appropriation art and question this art practice. The students made an effort to integrate the artistic elements in the two works they used for appropriation in an appropriate way and to create the best visual fiction, and they were able to bring a new interpretation by making use of the artists’ application of the paint technique and their understanding of colour in the appropriated works. They also realised that the artwork they produced was only a tool to force themselves into the artistic creation process and to gain artistic knowledge and skills. In other words, they developed an awareness of the limits of utilising the works in the history of art to ensure originality in their future arworks. It is possible to say that making use of the appropriation method in art studio courses will contribute to the artistic development of students.
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7

Markellou, Marina P. "Appropriation art and cultural institutions." Queen Mary Journal of Intellectual Property 3, no. 2 (April 1, 2013): 145–54. http://dx.doi.org/10.4337/qmjip.2013.02.03.

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8

Hick, Darren Hudson. "Forgery and Appropriation in Art." Philosophy Compass 5, no. 12 (December 2010): 1047–56. http://dx.doi.org/10.1111/j.1747-9991.2010.00353.x.

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9

Van Camp, Julie C. "Originality in Postmodern Appropriation Art." Journal of Arts Management, Law, and Society 36, no. 4 (January 2007): 247–58. http://dx.doi.org/10.3200/jaml.36.4.247-258.

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10

Irvin, Sherri. "Appropriation and Authorship in Contemporary Art." British Journal of Aesthetics 45, no. 2 (January 1, 2005): 123–37. http://dx.doi.org/10.1093/aesthj/ayi015.

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11

Heyd, Thomas. "Rock Art Aesthetics and Cultural Appropriation." Journal of Aesthetics and Art Criticism 61, no. 1 (February 2003): 37–46. http://dx.doi.org/10.1111/1540-6245.00090.

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12

Isıtman, Odul. "The lord of the postmodernity: Plagiarism." Global Journal of Arts Education 8, no. 2 (May 25, 2018): 84–90. http://dx.doi.org/10.18844/gjae.v8i2.3798.

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Today's art, which is dominated by postmodernism, evolves into a completely different sense of art that reverses the system over its own weapon and changes all the known values of art. Postmodern art, which focuses on questions about what is the thing that is art, canalises itself into citations and compilations which turn into imitation, appropriation, pastiche or plagiarism. While postmodernism turns into a kind of citation and compilation aesthetics; imitation, which is at the centre of the questions related to what is the thing that is art, becomes the strategy of postmodernism. The article titled ‘The Lord of the Postmodernity: Plagiarism’ is about the transformation of an art object into an art material or the re-presentation of it in today's sense of art which extends from imitation, appropriation and pastiche to plagiarism.Keywords: Postmodernism, plagiarism, power, imitation, appropriation, art, pastiche.
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13

Treier, Leonie. "Architectures of Appropriation." Museum Worlds 10, no. 1 (July 1, 2022): 14–30. http://dx.doi.org/10.3167/armw.2022.100103.

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The Maisons Tropicales are three prefabricated housing structures designed by Jean Prouvé. Fabricated in France, they were transported to and assembled in Brazzaville and Niamey, then part of the French colonies, around 1950. Their design was tied closely to the belief in the so-called civilizing and enlightening power of European modernist design and, thereby, also the French colonial agenda. In the early 2000s, an American collector, Robert Rubin, and a French art dealer, Eric Touchaleaume, “repatriated” the houses to France. There, they were transformed into and celebrated as icons of French modern design, while their colonial histories were ignored. This article analyzes the importance of discourse in this transformation and how it reflects ongoing dynamics of power and dispossession in the art world. Rubin and Touchaleaume simultaneously employed conflicting narratives mirroring anthropological “salvage” and “repatriation” discourses to describe the Maisons’ removal. The case study highlights the moral weight associated with the language around processes of repatriation, the nested relationships between heritage and the market, and the continuation of colonial practices of dispossession.
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14

Caro, Anais. ""Get Your Own Stuff": The Colonial Canon and the Subversive Art of Appropriation." Interdependent: Journal of Undergraduate Research in Global Studies 4 (2023): 26. http://dx.doi.org/10.33682/q3ks-21k3.

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This article analyzes the various ways in which artists of color are using appropriation in their work as a subversive tactic to undermine the historically exclusionary white European or 'Western' canon that continues to permeate throughout various aspects of our globalized societies. Colonial tropes of the other versus the white body continue to affect many of the ways that we perceive not only art but one another. Acts of appropriative subversion make the socio-cultural power of the colonial canon redundant and shift the asymmetrical power relations held within it. By utilizing a blend of contemporary and historical case studies ranging from fifteenth-century Italian paintings to twentieth-century fascist colonial monuments, and to contemporary artists like Kara Walker, Titus Kaphar, and Harmonia Rosales, I examine the various hypocrisies that this art form identifies and subverts in the Eurocentric canon. To do so, I employ iconoclasm and mimicry as two theoretical approaches to distinguish between the various distinct forms of subversive appropriation in our contemporary world.
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15

Trafí-Prats, Laura. "Art Historical Appropriation in a Visual Culture-Based Art Education." Studies in Art Education 50, no. 2 (January 2009): 152–66. http://dx.doi.org/10.1080/00393541.2009.11518763.

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16

Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (January 2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such concepts as “authenticity.” Finally, the article looks beyond the Label of Authenticity and existing law of intellectual and cultural property, to sketch another possible solution to the problem.
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17

Mix, E. "Appropriation and the Art of the Copy." Choice Reviews Online 52, no. 09 (April 21, 2015): 1433–45. http://dx.doi.org/10.5860/choice.52.09.1433.

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18

Xiaoling, Dai, and Kan Qing. "The Transformation of Appropriation in Contemporary Art." International Journal of Literature and Arts 8, no. 4 (2020): 255. http://dx.doi.org/10.11648/j.ijla.20200804.21.

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19

Linden, Liz. "Reframing Pictures: Reading the Art of Appropriation." Art Journal 75, no. 4 (October 2016): 40–57. http://dx.doi.org/10.1080/00043249.2016.1269561.

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20

Cantalamessa, Elizabeth. "Appropriation Art, Fair Use, and Metalinguistic Negotiation." British Journal of Aesthetics 60, no. 2 (January 11, 2020): 115–29. http://dx.doi.org/10.1093/aesthj/ayz055.

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Abstract Appropriation art (AA) involves the use of pre-existing works of art with little to no transformation. Works of AA (often) fail to satisfy established criteria for originality, such as creative labour and transformative use. As such, appropriation artists are often subject to copyright lawsuits and defend their work under the fair use doctrine of US copyright law. In legal cases regarding AA and fair use, judges lack a general principle whereby they can determine whether or not the offending party has ‘transformed’ the original work. Further, it is not the case that there is some antecedent fact that could determine the outcome one way or another. I diagnose debates surrounding the transformative nature of works of AA as cases of ‘metalinguistic negotiation’ over what concepts we should attach to terms like ‘copy’, ‘transformative’, and ‘work of art’.
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21

Oguibe, Olu. "Appropriation as Nationalism in Modern African Art." Third Text 16, no. 3 (September 2002): 243–59. http://dx.doi.org/10.1080/09528820110120704.

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22

Korom, Frank J. "Cannibal Culture: 93 Art, Appropriation, and the Commodification of Difference:Cannibal Culture: Art, Appropriation, and the Commodlfication of Difference." Museum Anthropology 21, no. 2 (September 1997): 93–95. http://dx.doi.org/10.1525/mua.1997.21.2.93.

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23

Pichler, Michalis. "Art History and Karaoke: Six Hands and a Cheese Sandwich." Revista SOBRE 3 (June 29, 2017): 125–47. http://dx.doi.org/10.30827/6228.

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We cannot precisely say what is not appropriation. Impossible to draw a categorical line. Appropriation is practiced everywhere and all the time, also by people who never have heard the word. As someone said before, no author has his complete meaning alone.
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24

Lipiński, Filip. "Anatomy of Appropriation. Postmodernism, Allegorical Procedures and the Myth." Tekstualia 2, no. 49 (June 12, 2017): 21–46. http://dx.doi.org/10.5604/01.3001.0013.3113.

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The article is an extensive analysis of the postmodern phenomenon of appropriation art in its practical and theoretical context. It focuses on the historical period of the late 1970s and 1980s and the New York Scene of American artists, collectively called the Pictures Generation. It was a moment when artistic practice merged with an insightful critical refl ection inspired by diverse sources such as Walter Benjamin’s theory of allegory, Roland Barthes’s analysis of myth and the idea of „the death of the author” as well as Jacques Derrida’s deconstruction. In the fi rst part of the article I analyze the photographic work of four major female artists – Sherrie Levine, Louise Lawler, Cindy Sherman and Barbara Kruger – in terms of the strategies of appropriation they employed. It sets ground for the second part of the article – a detailed „anatomy” of critical discourse and theoretical and historical premises for the emergence or appropriation art with a special focus on the allegory and allegorical procedures discussed in seminal articles by Craig Owens and Benjamin H. Buchloh. It also highlights the relationship between appropriation and the Barthesian understanding of the myth. In the third part I discuss critical reconsiderations of appropriation in terms of subjectivity and its political value. The fi nal section consists of analyses of selected works of appropriation, deconstructing „American myth” in order to demonstrate the above-mentioned political/critical dimension of appropriation. In conclusion, I propose to think about postmodern appropriation not only as an important phenomenon of the past but a still operative, even if at times aporetic, project which sets major coordinates for contemporary art.
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25

Yu, Yingwei, and Chenxi Xia. "A Study of Symbolic Appropriation in Pop Art." Highlights in Art and Design 2, no. 2 (March 20, 2023): 42–48. http://dx.doi.org/10.54097/hiaad.v2i2.6158.

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As a way of artistic creation, misappropriation has long been studied and used by artists. This article will define the concept of misappropriation, by This article will define the concept of misappropriation, by combing the historical context of misappropriation in works in the art history, and at the same time, it will focus on the interpretation of the This article studies and defines the concept of misappropriation, by combining the historical context of misappropriation in works in the art history, and at the same time, it will focus on the interpretation of the misappropriation techniques of pop art in post-modernism, so as to deeply explore the performance value of misappropriation in contemporary art. article studies and defines pop art and post-modernism closely related to it, and interprets and studies it related to misappropriation through Digging into the different methods of misappropriation, it is mainly divided into three parts to elaborate and interpret .
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26

McRae, Linda. "[no title]." Art Libraries Journal 17, no. 1 (1992): 24–25. http://dx.doi.org/10.1017/s0307472200007604.

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Like most librarians, I spend a large part of my time organizing information and helping others to find it, but as an artist, I sometimes find an image more interesting to appropriate than to classify.The word “appropriation” as applied to art has in some ways supplanted the concept of the found object. Appropriation refers to the use of images (taken from many sources, including art history) that have been not only removed from their original context, but re-combined with other images to form a new context, a new work of art.
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27

McLean, Ian. "Post-Western Poetics: Postmodern Appropriation Art in Australia." Art History 37, no. 4 (August 14, 2014): 628–47. http://dx.doi.org/10.1111/1467-8365.12107.

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28

Vranou, Sofia. "Beyond deconstruction: Desire in postmodern American appropriation art." Journal of Arts Writing by Students 1, no. 2 (October 1, 2015): 165–73. http://dx.doi.org/10.1386/jaws.1.2.165_1.

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29

Kuspit, Donald. "The Appropriation of Marginal Art in the 1980s." American Art 5, no. 1/2 (January 1991): 133–41. http://dx.doi.org/10.1086/424111.

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30

Pettman, D. "A Break in Transmission: Art, Appropriation and Accumulation." Genre 34, no. 3-4 (January 1, 2001): 279–90. http://dx.doi.org/10.1215/00166928-34-3-4-279.

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31

Moran, Ruth Alexandra. "Street appropriation: Subversion as commodity in Dublin." Visual Inquiry 9, no. 1 (September 1, 2020): 27–44. http://dx.doi.org/10.1386/vi_00008_1.

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This article examines the recent intense public interest in Dublin street art collective Subset’s urban painting, which co-opts the language, practices and attitude of graffiti culture as brand narrative, producing a commodity from their portrayal of subversion, which they self-promote on social media. While the career trajectory from vandal or graffiti artist to the established art world is nothing new, what is particularly interesting is how Subset went from an unknown group of art college graduates in early 2017 to their acceptance and recognition by the arts establishment in late 2019. The case of Subset is interesting in terms of the evident cultural cachet of their synthesis of subversive practices and the promotion of their brand in their work, which has proven very popular with the public. As a result, the Subset brand has in turn been co-opted by traditional media, political discourse and the arts establishment.
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32

Darshandhari, Saur Ganga. "Appropriating the Mona Lisa in the Contemporary Nepali Painting." SIRJANĀ – A Journal Of Arts and Art Education 9, no. 1 (July 6, 2023): 78–89. http://dx.doi.org/10.3126/sirjana.v9i1.56271.

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There is no boundary in creating, or recreating new work whether in art, literature, music, film, drama, or any medium. The practice of artists using original objects or images in their artworks with changes of the original ones is considered appropriation in art, or appropriate art. This paper focuses on the appropriation of the Mona Lisa in the contemporary Nepali paintings. The Mona Lisa, the most sought-after work of art, was created by Leonardo Da Vinci during c. 1503-1506 is presently housed in the Louvre Museum, Paris. There are several examples of Vinci’s art turned into appropriate art by artists from around the world. In 1919, Marchel Duchamp appropriated adding a moustache and beard with a pencil in a postcard reproduction of the Mona Lisa. Moreover, this appropriation of the Mona Lisa can be seen in Nepali artists' paintings as well. It can be seen in the works of the eminent artist Manuj Babu Mishra to the up-and-coming artists like Laxman Bajra Lama and many others. While making conscious and unconscious dialogues with the Mona Lisa, Nepali contemporary artists seem to be apparently driven by traditional myths, icons, motifs, and religions. Here, ten of the appropriate arts of the Mona Lisa, created by contemporary Nepali artists will be discussed.
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33

MacDonald, Carolyn. "Take-Away Art: Ekphrasis and Appropriation in Martial's Apophoreta 170–82." Classical Antiquity 36, no. 2 (October 1, 2017): 288–316. http://dx.doi.org/10.1525/ca.2017.36.2.288.

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This paper examines the cultural antagonisms of Martial's Apophoreta 170–82, a unique series of epigrammatic gift-tags for artworks to be given away during the Saturnalia. In these poems, I argue, Martial thematizes and enacts Rome's transformative appropriation of cultural capital from Greece and elsewhere. First, he adopts the Hellenistic trope of the ekphrastic gallery tour in order to evoke the “museum spaces” of the Flavian city, where artworks became testaments to the power and culture of Rome (Section 1). While evoking these masterpiece collections, however, the epigrams in fact describe miniatures changing hands at a banquet. Martial thus tropes a second Roman practice of appropriation, namely the widespread consumption of transmedial miniature copies (Section 2). Third and finally, the epigrams dramatize the vulnerability of plundered objects by reevaluating their significance within the Roman frameworks of Latin literature and the Saturnalia (Section 3). In this miniature ekphrastic series, then, Martial's apophoretic poetics converge with Roman forms of appropriation both imperial and domestic, concrete and conceptual.
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34

Liu, Shuai, and Mi Jeong Kwon. "The Appropriation of American Contemporary Art in Modern Fashion." JOURNAL OF THE KOREAN SOCIETY DESIGN CULTURE 24, no. 4 (December 31, 2018): 237–49. http://dx.doi.org/10.18208/ksdc.2018.24.4.237.

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35

Olivier, Bert. "Gadamer, Heidegger, play, art and the appropriation of tradition." South African Journal of Philosophy 21, no. 4 (January 2002): 242–57. http://dx.doi.org/10.4314/sajpem.v21i4.31350.

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36

McKervey, Henri, and Declan Long. "Makers and Takers: Art and the Appropriation of Ideas." Circa, no. 101 (2002): 32. http://dx.doi.org/10.2307/25563844.

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37

Sickler-Voigt, Debrah C. "Pablo Cano—The Blue Ribbon: The Art of Appropriation." Art Education 64, no. 4 (July 2011): 25–32. http://dx.doi.org/10.1080/00043125.2011.11519133.

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38

Snyder, Stephen. "The End of Art: Hegel’s Appropriation of Artistotle’s Nous." Modern Schoolman 83, no. 4 (2006): 301–16. http://dx.doi.org/10.5840/schoolman200683417.

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39

Baetens, Jan, and Michael Kasper. "Correspondance : Mail Art and Literary Appropriation in the 1920s." French Forum 38, no. 1-2 (2013): 109–26. http://dx.doi.org/10.1353/frf.2013.0014.

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40

Serafini, Frank. "The Appropriation of Fine Art into Contemporary Narrative Picturebooks." Children's Literature in Education 46, no. 4 (March 11, 2015): 438–53. http://dx.doi.org/10.1007/s10583-015-9246-2.

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41

SAFRONOVA, Anna, and Olena SAFRONOVA. "APPROPRIATION AS A CREATIVE METHOD IN VISUAL FEMINIST ART." Humanities science current issues 3, no. 61 (2023): 56–63. http://dx.doi.org/10.24919/2308-4863/61-3-9.

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42

Debrabant, Camille. "Photographie et appropriation art : mécanismes et usages de l’appropriation." Figures de l'Art. Revue d'études esthétiques 23, no. 1 (2013): 153–74. http://dx.doi.org/10.3406/fdart.2013.1022.

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43

Ippolito, Jean. "Parody and Appropriation: European Art Traditions in the Digital Media Art of China." International Journal of the Arts in Society: Annual Review 5, no. 4 (2010): 183–90. http://dx.doi.org/10.18848/1833-1866/cgp/v05i04/35880.

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44

Ravn Borggreen, Gunhild. "Transkulturel kunsthistorie. Om epistemologi og appropriation af japansk kunst i Danmark." Periskop – Forum for kunsthistorisk debat, no. 27 (June 15, 2022): 16–35. http://dx.doi.org/10.7146/periskop.v2022i27.133727.

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The article discusses transcultural art history with Danish examples about Japanese art. This includes an introduction to the concept of transculturation, and how the concept is used in art history research. The core of the argument concerns two interrelated aspects of Danish art historiography: the role of ethnography and the myth of modernism as a Western phenomenon. For the first of these aspects, I analyse the only existing Japanese art history in Danish language, published in 1885. For the other aspect, I analyse recent interpretations of the Danish painter Anna Ancher and her alleged use of formal elements from Japanese woodblock prints. I thereby wish to connect the theoretical issues of transculturation with analyses of transformative and constituent exchange of objects, phenomena and ideas, and point out the potential of the concept of transculturation as both theory and method. An investigation of transcultural connections between Japan and Denmark will contribute to writing a new art history on global interactions.
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45

Goldberg, Keren. "What Is It Like for You? Rethinking Voice Appropriation in Parafictional Identities in Israeli Art." Arts 12, no. 1 (February 3, 2023): 27. http://dx.doi.org/10.3390/arts12010027.

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The article focuses on two parafictional figures created by Israeli artists at about the same time in the early 2000s: Oreet Ashery’s Marcus Fisher and Roee Rosen’s Justine Frank. Through a close reading of these case studies, I examine the phenomenon of parafictional characters as extreme cases of voice appropriation. Against the background of rising international concern with cultural appropriation, and of the Israeli sociopolitical context characterized by a multiplicity of often conflicting identities, I argue that such appropriation is, in fact, a basic aesthetic procedure. Using Hannah Arendt’s reading of Immanuel Kant’s aesthetic judgment as political judgment, and her articulation of an “enlarged mentality” as necessary for both aesthetic and political thinking, the article demonstrates how the ability to imagine a position different from your own is inherent for aesthetic representation as well as reception.
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46

Duarte, Miguel De Ávila. "A obra de…: cânone, apropriação, diáspora e a questão do nome na Odisseia vácuo, de Renato Negrão / The Work By...: Canon, Appropriation, Diaspora and the Question of Naming in Renato Negrão’s Odisseia Vácuo." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 26. http://dx.doi.org/10.17851/2358-9787.30.2.26-53.

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Resumo: Tomando como ponto de partida o poema-livro Odisseia Vácuo do performer, artista plástico e poeta contemporâneo Renato Negrão, o presente artigo pretende discutir questões relativas ao cânone artístico-literário, as possíveis relações entre a apropriação como procedimento de escrita e de criação e a apropriação cultural no contexto da diáspora africana e, por fim, como tais questões interferem nos próprios atos de nomeação. Para tanto, são construídos uma série de diálogos: com a epopeia fundadora de Homero; com o modernismo antropofágico; com a literatura de apropriação contemporânea estadunidense; com as propostas de Wölfflin e Valéry de histórias da arte e da literatura “sem nomes”; com o enredamento do primitivismo vanguardista e da invenção da colagem no primeiro cubismo; com a crítica contemporânea da apropriação cultural. Palavras-chave: escrita de apropriação; apropriação cultural; poesia brasileira contemporânea.Abstract: Taking as a starting point the poem-book Odisseia Vácuo (Vacuum Odissey), by the performer, visual artist and contemporary poet Renato Negrão, this article intends to discuss questions related to the literary-artistic canon, the possible relations between appropriation as writing and creation process and cultural appropriation in the context of African diaspora, and lastly, the way in which those questions interfere in the very acts of naming. For this purpose, I build dialogues with Homer’s founding epic, with Brazilian anthropophagic modernism, with American contemporary appropriative literature, also with Wölfflin’s and Valéry’s proposals of “nameless” art and literary histories and with the intertwining of avant-gardist primitivism and collage creation in early Cubism, as well as the contemporary criticism of cultural appropriation.Keywords: appropriative writing; cultural appropriation; Brazilian contemporary poetry.
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Payrow Shabani, Omid A. "Critical Theory and the Seducement of the "Art of the Possible"." Canadian Journal of Political Science 36, no. 1 (March 2003): 85–106. http://dx.doi.org/10.1017/s000842390377855x.

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In order to remedy the difficulties arising from his lifeworld/system distinction, such as the inability of his theory to account for the possibility of legitimate political power, Jürgen Habermas' attention turned toward greater abstraction through an appeal to legal theory as the basis of political consensus in the face of problems of diversity, complexity and pluralism in the modern world. This turn is made possible by an appropriation of some concepts of liberal theory, specifically John Rawls's ideas of "overlapping consensus" and "reflective equilibrium." The author argues that Habermas' insufficiently critical appropriation of these concepts leads to an inadequate account of political power that takes the existing political order as already legitimate, thereby compromising the critical thrust of his own theory.
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Park, Jeong-Ae. "Art Education for Recreation: Appropriation and Interpretation for Meaning Making." Journal of Research in Art Education 12, no. 1 (January 2011): 151–66. http://dx.doi.org/10.20977/kkosea.2011.12.1.151.

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Longtin, Rebecca A. "From Factical Life to Art: Reconsidering Heidegger's Appropriation of Dilthey." Journal of the History of Philosophy 59, no. 4 (2021): 653–78. http://dx.doi.org/10.1353/hph.2021.0065.

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Besada, José L., and Ainara Zubizarreta. "Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music." Circuit 28, no. 3 (January 3, 2019): 25–38. http://dx.doi.org/10.7202/1055192ar.

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The Bombing of Guernica stands as the best-known war crime during the Spanish Civil War. The town symbolically representing the Basque essences was destroyed by a German-Italian air raid lasting over three hours, and almost two hundred people were killed. Unfortunately, this abominable event remains contentious among disparate political factions, sometimes upholding its memory by means of tailor-made interpretations.As music often performs a political role within conflicts, particularly those involving violence, it is not surprising that the Bombing of Guernica has inspired several compositions of art music. Among them, we study three works by Basque composers, namely Pablo Sorozábal, Francisco Escudero, and Ramon Lazkano. Each case study respectively stands, politically speaking, as a propagandistic event, a musical appropriation, and a collateral depoliticization of the vivid memories around the war crime.
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