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1
Doll, Reinhard. "Eine neue Art der Gattung Taraxacum aus Afghanistan." Feddes Repertorium 86, no. 9-10 (April 18, 2008): 507–9. http://dx.doi.org/10.1002/fedr.19750860905.
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Nadein, Konstantin S., Zubair Ahmed, and Maxim Sergeev. "Distributional notes on Chrysomelidae from Pakistan and Afghanistan (Coleoptera)." Beiträge zur Entomologie = Contributions to Entomology 62, no. 1 (May 15, 2012): 225–33. http://dx.doi.org/10.21248/contrib.entomol.62.1.225-233.
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Die Verbreitungsdaten von 19 Arten aus Pakistan und 9 Arten aus Afghanistan werden präsentiert. Acht Arten werden als neu für Pakistan gemeldet: Coptocephala crassipes (Lefevre, 1876), Chloropterus ornatus Lopatin, 1984, Pachnephorus tesselatus Duftschmidt 1825, Macrocoma sacra (Lopatin, 1983), Macrocoma marquardti (Breit, 1913), Palpoxena pallida (Jacoby, 1896), Aulacophora impressa (Fabricius, 1801), und Chaetocnema belli Jacoby, 1904. Eine Art wird in Afghanistan neu nachgewiesen: Tituboea heptneri (Medvedev, 1957).StichwörterChrysomelidae, leaf beetles, Pakistan, Afghanistan, distribution, new records.
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Musawi, Sayed Zabihullah, and Jawid Ahmad Baktash. "Identification and Ranking of Cloud-Based Applications in E-Learning of Afghanistan: A Case of Public Universities." Elsya : Journal of English Language Studies 3, no. 2 (April 25, 2021): 78–85. http://dx.doi.org/10.31849/elsya.v3i2.5796.
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Cloud-based Applications are suitable tools in the E-learning system, and they bring the most facilities in E-learning due to availability and on-demand self-services. During Covid-19 lockdown, while presential learning stopped and E-learning started. The Ministry of Higher Education has begun E-learning in public and private universities. Therefore, Afghanistan’s universities used Cloud-based Apps in E-learning, but these Apps are not identifying and ranking in the E-learning of Afghanistan. This study aims to identify and rank the Cloud-based Apps in terms of usefulness and effectiveness in E-learning using state-of-the-art, and its usage in public universities of Afghanistan. To get an accurate answer to the defined questions, mixed research was used. Therefore, an online questionnaire was distributed randomly to six public universities in six different parts of Afghanistan. The respondents were divided into two categories (lecturers and students) and asked to respond to Cloud-based Apps usage and effectiveness in E-learning. The responses were analySed using Chi-Square Tests. The result showed the most, low, and lowest useful Cloud-based Apps in E-learning. In conclusion, the research finding showed that Google Classroom was the most LMS, WhatsApp was the most mobile instant messaging, Gmail was the most E-mail server and Skype was the most video conferencing Cloud-based Apps in E-learning in most public universities of Afghanistan.
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Harooni, Mohammad Zubair, Abdul Alim Atarud, Ehsanullah Ehsan, Ajmal Alokozai, Willi McFarland, and Ali Mirzazadeh. "Gaps in the continuum of care among people living with HIV in Afghanistan." International Journal of STD & AIDS 33, no. 3 (December 15, 2021): 282–88. http://dx.doi.org/10.1177/09564624211055299.
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Background Afghanistan adopted a “test and treat” strategy for all people living with HIV (PLWH) in 2016. In this study, we presented demographic and clinical characteristics of all people diagnosed between 2013 and 2019 and evaluated progress towards 90-90-90 UNAIDS targets and identified program gaps among PLWH in Afghanistan diagnosed in 2018. Methods We used clinical, behavioral, and demographic data from national HIV surveillance for 1394 patients diagnosed from 2013 through 2019. We also tracked 184 patients diagnosed with HIV in 2018 over 15 months to assess their enrollment in care, antiretroviral therapy (ART) initiation, retention on ART, and viral suppression. Results Of 1394 patients diagnosed from 2013 through 2019, 76.0% were male, 73.7% were older than 24 years, and 33.4% acquired HIV through heterosexual sex. Of the 184 patients diagnosed in 2018, 94.6% were enrolled in care, 88.6% received ART, 84.2% were retained on ART for at least 12 months, and 33.7% received a viral load test. Of those with a viral load test, 74.2% were virally suppressed. Patients who were 35–44 years old (52.0%, p-value .001), acquired HIV through unsafe injection (62.5%, p-value .413), were co-infected with hepatitis C virus (HCV) (60.0%, p-value .449), and with CD4 > 500 at diagnosis (64.7%, p-value .294) were less likely to be virally suppressed 12 months after diagnosis. Conclusion Nearly 95% of people diagnosed with HIV in Afghanistan in 2018 were linked to care and nearly 90% were on ART. Viral testing and viral suppression remain low with notable disparities for middle-aged patients, and possibly for those who injected drugs. Addressing barriers to HIV programs in Afghanistan, particularly for people who inject drugs (PWID), are urgently needed to reach the 90-90-90 global targets. Surveillance data on the number of people with undiagnosed HIV is needed to assess the first 90 target.
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Cordesman, Anthony H. "Afghanistan: Droht durch die „Friedensvereinbarung“ eine Vietnamisierung des Konflikts?" SIRIUS – Zeitschrift für Strategische Analysen 4, no. 2 (May 26, 2020): 159–69. http://dx.doi.org/10.1515/sirius-2020-2004.
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ZusammenfassungDie Vereinigten Staaten haben sich bemüht, eine Art „Friedensvereinbarung“ für Afghanistan mit den Taliban zu erreichen, die jedoch möglicherweise keinen Bestand haben wird. Es fehlt an einer klaren Strategie für Afghanistan, die über eine bloße Konfliktbeendigung, einen Waffenstillstand oder die Ausschaltung terroristischer Bedrohungen hinausginge. Ein Friedensplan für Afghanistan, der keine dauerhaften Regelungen in Bezug auf Regierungsbeteiligung, die Sicherheitskräfte und die Wirtschaft umfasst, wird zu einer Situation führen, die zahlreiche Gemeinsamkeiten mit jener Zeit aufweist, als die Vereinigten Staaten durch den Abzug ihrer Truppen aus Vietnam einen Frieden herbeiführen wollten – was letztlich zum Fall Saigons führte.
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Ghani, Bilquis, and Lucy Fiske. "‘Art is my language’: Afghan cultural production challenging Islamophobic stereotypes." Journal of Sociology 56, no. 1 (November 8, 2019): 115–29. http://dx.doi.org/10.1177/1440783319882536.
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Afghans and Afghanistan have, since September 11, risen to prominence in Western popular imagination as a land of tradition, tribalism and violence. Afghan women are assumed to be silent, submissive, and terrorised by Afghan men, who are seen as violent patriarchs driven by an uncompromising mediaeval religion. These Islamophobic tropes also inform perceptions of Afghans seeking asylum. In transit, identities are further reduced; asylum seekers lose even a national identity and become a Muslim threat – criminals, terrorists or invaders. These narrative frames permeate political discourse, media, and reports of non-governmental organisations (seeking donor funds to ‘save’ Afghan women). Drawing on fieldwork in Afghanistan and Indonesia, this article looks at how Afghans in Kabul and Indonesia are using art and other forms of cultural production to challenge over-simplified hegemonic narratives in the West, to open spaces for dialogue and expression within their own communities, and to offer a more nuanced account of their own identities.
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Lerner, Judith A. "A prolegomenon to the study of pottery stamps from Mes Aynak." Afghanistan 1, no. 2 (October 2018): 239–56. http://dx.doi.org/10.3366/afg.2018.0016.
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That Afghanistan has been a cultural crossroads is no better demonstrated than by its glyptic art. The designs and styles of the seals used to sign, authenticate and secure documents and packages reflect the artistic and religious traditions of the Hellenistic, Iranian, and Indian worlds. A particular category of seal design is, to my knowledge, known only from impressions on the exterior of clay vessels; they occur at a number of sites in Afghanistan. Their designs differ in style and imagery from the glyptic art of the regions and cultures that produced seals used for authentication purposes and thus suggest that they were carved specifically to mark or decorate ceramics. Recently, a number of potsherds with such seal impressions have been salvaged at the major Buddhist site of Mes Aynak, 40 km southeast of Kabul. Some share motifs with stamped pottery from other sites in Afghanistan, but others are unique. This article is a preliminary exploration of the subject matter and style(s) of the Mes Aynak pottery stamps.
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Cryer, R. "The Fine Art of Friendship: Jus in Bello in Afghanistan." Journal of Conflict and Security Law 7, no. 1 (April 1, 2002): 37–83. http://dx.doi.org/10.1093/jcsl/7.1.37.
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WARDAKI, MARJAN. "Rediscovering Afghan Fine Arts: The life of an Afghan student in Germany, Abdul Ghafur Brechna." Modern Asian Studies 55, no. 5 (May 7, 2021): 1544–80. http://dx.doi.org/10.1017/s0026749x20000591.
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AbstractIn 1919, Afghanistan embarked on a series of reforms that led to the presence of Afghan students at various European universities, facilitating the circulation of peoples, ideas, and goods. Focusing on one of these cases, this article examines how an Afghan student engaged critically with ‘Western’ art and translated artistic ideas and technologies through the grid of Afghanistan's own history of the fine arts. Through an exploration of the work of Abdul Ghafur Brechna (1907–1974)—artist, music composer, poet, and writer—I argue that, despite his desire to train at German technical schools, Brechna translated, then connected, his Western training to restore Afghanistan's traditional visual and literary arts, making it problematic to define his oeuvre as purely ‘modern’ or ‘traditional’. The first aim is to situate Brechna within the intellectual milieu of Weimar Germany, placing emphasis on how he curated the course of his education to support his aims. By tracing out the evolution of his artistic knowledge to Afghanistan, the second part of this article connects his earlier training to the newly emerging scholars in Kabul who also grappled with national renewal and an ‘Aryan’ literary and cultural heritage. Lastly, I discuss his attempt to rewrite the history of the arts by closely analysing his visual and literary work, emphasizing in particular his attempt to reconnect to themes and genres that had previously been lost or neglected.
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Aldrovandi, Cibele, and Elaine Hirata. "Buddhism, Pax Kushana and Greco-Roman motifs: pattern and purpose in Gandharan iconography." Antiquity 79, no. 304 (June 2005): 306–15. http://dx.doi.org/10.1017/s0003598x00114103.
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The authors show how the Gandharan art of early first millennium Afghanistan used Greek and Roman motifs to give an international context to Buddhist sculpture and reduce tension at home and with the neighbours.
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Oster, Jan. "Verstößt die Urheberrechts-Richtlinie gegen die Medienfreiheit?" UFITA 84, no. 2 (2020): 358–89. http://dx.doi.org/10.5771/2568-9185-2020-2-358.
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Die Urheberrechts-Richtlinie 2001/29/EG verstößt gegen die Medienfreiheit gemäß Art. 11 Abs. 2 EUGRCh und Art. 10 EMRK. Die Ausnahmen und Beschränkungen der Urheberrechts-Richtlinie können einen angemessenen Ausgleich zwischen den Rechten des Urhebers und der Medienfreiheit im Einzelfall nicht gewährleisten. Der vorliegende Beitrag erläutert diesen Befund am Beispiel der urheberrechtlich privilegierten Berichterstattung über Tagesereignisse gemäß Art. 5 Abs. 3 Buchst. c) Var. 2 und des Zitatrechts nach Art. 5 Abs. 3 Buchst. d) Urheberrechts-Richtlinie im Lichte der Entscheidungen „Funke Medien“ (bzw. „Afghanistan-Papiere“) und „Spiegel Online“ (bzw. „Reformistischer Aufbruch“).
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Cahill, Susan. "The Art of War: Painted Photographs and Australia’s “War on Terror”." RACAR : Revue d'art canadienne 39, no. 2 (December 9, 2014): 71–87. http://dx.doi.org/10.7202/1027750ar.
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De novembre 2008 à décembre 2010, l’exposition Framing Conflict : Iraq and Afghanistan est présentée dans un grand nombre d’institutions culturelles et militaires à travers l’Australie. Organisée par le Australian War Memorial et sous l’égide du commissaire Warwick Heywood, elle est principalement composée d’huiles sur toile de lin réalisées par le duo d’artistes australiens Lyndell Brown et Charles Green. Leurs oeuvres s’appuient sur une série de photographies prises en 2007 pendant leur « embarquement » (« embed ») en tant qu’artistes officiels du War Art Scheme, au sein de la Australian Defense Force basée en Afghanistan et au Moyen-Orient. J’examine ces peintures réalisées sur commande par Brown et Green dans le but d’explorer la façon dont ces artistes complexifient les attentes par rapport à l’art commandité par l’État et les récits officiels de l’histoire militaire australienne. Pour ce faire, j’effectue un rapprochement entre une analyse de ce que les tableaux dépeignent et la manière dont les artistes ont négocié leur rôle en tant qu’héritiers d’une mémoire de l’art militaire, et ce, en lien avec leur propre pratique esthétique, leurs croyances politiques, et le contexte plus large du rôle de l’Australie dans « la guerre au terrorisme » internationale.
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Balcerowicz, Piotr. "Pre-Islamic art of Afghanistan and Pakistan. A survey of research interest." Art of the Orient 7, no. 1 (December 31, 2018): 171–216. http://dx.doi.org/10.15804/aoto201811.
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Makhmudova, Malika, and Muhayyo Makhmudova. "ISLAMIC STYLE IN LANDSCAPE DESIGN ON THE EXAMPLE OF ANCIENT GARDENS OF THE TEMURID PERIOD." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 706. http://dx.doi.org/10.17770/sie2020vol5.4990.
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The article considers the history of the creation and development of the Islamic garden, the characteristic features of landscape gardening art in the Islamic style through the prism of the development of ancient gardens of the Temurid period, in particular, on examples of gardens in Central Asia, Afghanistan and India, and other countries, including their perspectives development, as well as proposals for the creation of modern landscape design. Today, with the urbanization and the growth of cities, less territory remains for the green zone, therefore one of the main problems throughout the world is the preservation of the environment, and especially landscape architecture. Gardening art has come a long way and many masterpieces have been irretrievably lost. Today, all aspects of the history and development of Islamic-style gardens and parks are still not disclosed. For this reason the issue of studying traditional Islamic-style gardens and, of course, reviving the traditional park-building culture of the Temurids and Baburids era was raised in Uzbekistan to create a green environment of historical sites and national parks. As a result of the research, the following were considered and identified: the history of the development of Islamic landscape design, the types of gardens in the Islamic style, the history of the creation of various gardens, their names, planning and compositional solutions, characteristic features, decorative techniques for building gardens in Central Asia, Afghanistan, India, technical and water devices used in the Temurid Gardens, as well as the importance of the Temurids dynasty in creating gardens and parks in Afghanistan and India. The conducted research, the experience of designing and creating Islamic gardens in Central Asia, Afghanistan, India and other countries will allow using the recommendations aimed at creating a modern garden in the Islamic style not only in Uzbekistan, but in other countries.
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Kłagisz, Mateusz M. P. "Pro-Regime Posters in the Democratic Republic of Afghanistan." Iran and the Caucasus 25, no. 2 (June 25, 2021): 208–24. http://dx.doi.org/10.1163/1573384x-20210209.
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The article discusses three Afghan posters as a source of information on the political system between 1978 and 1992 and its internal dynamics. The posters are an integral part of Afghan visual culture and at the same time they are an inseparable element of the broader propaganda culture developed by communist parties. Consequently, such categories as unity, utility and wishful thinking characteristic for the socialist realist art and propaganda put the posters in the broadly understood phenomenon of Orwellian newspeak. To discuss their Orwellian dimension theoretical tools developed by Umberto Eco have been applied.
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Mock, John. "Khandut revisited: Monuments, shrines, and newly discovered rock art in Wakhan District." Afghanistan 1, no. 2 (October 2018): 282–301. http://dx.doi.org/10.3366/afg.2018.0018.
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In 1972, a brief article titled “Khandud, Village de la Vallée du Wakhan” appeared in Afghanistan 25. The subsequent decades of conflict precluded any follow-up research in Wakhan. The current article, based on field work from 2004 to 2016, examines the present condition of the sites described in 1972, offers a revised analysis of their significance, and introduces newly discovered rock art that connects Wakhan with the Saka culture of Central Asia and illustrates indigenous traditions of the Pamir-Hindukush ethnolinguistic region.
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Mufti, Nasser. "Kipling’s Art of War." Nineteenth-Century Literature 70, no. 4 (March 1, 2016): 496–519. http://dx.doi.org/10.1525/ncl.2016.70.4.496.
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Nasser Mufti, “Kipling’s Art of War” (pp. 496–519) This essay looks at the British empire’s most ambitious years, when it saw Britain and its settler colonies as belonging to a global nation-state, most commonly referred to as “Greater Britain.” The apex of this imperial-national imagination came with the outbreak of the Second Anglo-Boer War, which jingoists like Arthur Conan Doyle and Rudyard Kipling celebrated as a civil war because it was seen to be a conflict between the “blood brotherhood” of empire: Britons and Boers. Hence the characterization of the Boer War as “the last of the gentleman’s wars” or “a sahibs’ war,” because it was said to be fought between the civilized fellow-citizens of the British empire. But Kipling also had to confront the fact that British and Boer tactics were decidedly “ungentlemanly” at the war front. I turn to his short story “A Sahibs’ War” (1901), which is especially concerned about the “gentleman’s war” in South Africa looking identical to anticolonial wars in Afghanistan and Burma, which in Kipling’s mind were barbaric frontier conflicts. Kipling registers this ambivalence between civil and colonial war in the language of his story, which strategically puns across English, Afrikaans and Urdu/Hindi. These translingual puns make legible and sensible the tensions between the intra-national and extra-national, domestic and foreign, civil and imperial that characterized Greater British discourse at the turn of the century.
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Rošker, Jana S. "Introduction." Asian Studies 9, no. 1 (January 7, 2021): 7–9. http://dx.doi.org/10.4312/as.2021.9.1.7-9.
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This issue of the journal Asian Studies will examine the cultural, social and intellectual legacies of the various Asian regions. Its geographical scope extends from China to Iran and from Afghanistan to Fujian. It examines different aspects of history, from classical and modern intellectual history to art, political and gender history. It clearly shows that the history of this vast and diverse region is complex.
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Rošker, Jana S. "Introduction." Asian Studies 9, no. 1 (January 7, 2021): 7–9. http://dx.doi.org/10.4312/as.2021.9.1.7-9.
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This issue of the journal Asian Studies will examine the cultural, social and intellectual legacies of the various Asian regions. Its geographical scope extends from China to Iran and from Afghanistan to Fujian. It examines different aspects of history, from classical and modern intellectual history to art, political and gender history. It clearly shows that the history of this vast and diverse region is complex.
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Brancaccio, Pia, and Xinru Liu. "Dionysus and drama in the Buddhist art of Gandhara." Journal of Global History 4, no. 2 (July 2009): 219–44. http://dx.doi.org/10.1017/s1740022809003131.
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AbstractThis essay examines the relationships existing between Dionysian traditions of wine drinking and drama that reached the easternmost part of the Hellenistic world, and the Buddhist culture and art that flourished in Gandhara (Eastern Afghanistan and Northern Pakistan) under the Kushan kings between the first and third centuries CE. By piecing together archaeological, artistic and literary evidence, it appears that along with viniculture and viticulture, Dionysian rituals, Greek theatre and vernacular drama also became rooted in these eastern lands. Continuous interactions with the Graeco-Roman world strengthened these important cultural elements. At the beginning of the Common Era Dionysian traditions and drama came to be employed by the Buddhists of Gandhara to propagate their own ideas. The creation of a body of artworks representing the life of the Buddha in narrative form along with the literary work of Ashvaghosha, may be an expression of the same dramatic format that developed locally along with a strong Dionysian ritual presence.
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Winkelmann, S. "Some remarks about the origin of BMAC female deities." Archaeological News 32 (2021): 69–99. http://dx.doi.org/10.31600/1817-6976-2021-32-69-99.
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The article deals with the question of the origin of the BMAC deities found in the high art of Margiana and Bactria especially in glyptic art, for which there are no local precursors in Turkmenistan or Afghanistan. By analyzing the art of the Kerman or Jiroft culture of Southeast Iran, especially the seal finds from Konar Sandal and the intercultural style objects, the direct antecedents of the BMAC pantheon in Southeast Iran could be demonstrated. Both regions have an almost identical pantheon of female deities with similar attributes, same stylistic features and identical attitudes, and they share a common myth that is depicted in the art of both regions. Nevertheless, the goddesses in the BMAC undergo modifications in representation, which concerns hairdo and costumes, but which is particularly evident in the altered depiction of attribute animals, which are now often fused together, and the increased depiction of winged gods and attribute animals.
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Mardiani, Reni. "Syiar Dalam Alunan Syair: Nasyid Seni Dakwah Islam di Bandung Tahun 1990-2004." Al-Isnad: Journal of Islamic Civilization History and Humanities 2, no. 2 (December 30, 2021): 14–30. http://dx.doi.org/10.22515/isnad.v2i2.4853.
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This research explains the art of nasyid music as an art of Islamic dakwah in Bandung from 1990 to 2004, which was initially introduced as a chant to give speeches for Islamic student activists along with the spirit of defending Palestine and Afghanistan. This research uses historical method, namely topic choice, heuristics, source criticism, interpretation and historiography. The results of this study show that in its development nasyid is considered an art of music to offer resistance to Western music which affects young people, especially in urban areas. Nasyid has become a modern Islamic music which has become one of the alternative music streams to convey Islamic preaching in addition to the art of entertainment, so that nasyid has become an influential dakwah art for the people of Bandung, especially young people, many of whom are more familiar with Islam until they migrate. In 2004 nasyid in Bandung experienced ups and downs in which nasyid became a national festival, but nasyid began to be neglected due to the existence of popular Indonesian musicians who began releasing religious albums.
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Ivanenko, Aleksey I. "Semiotic Aspects of Afghan Tattoos." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 4 (October 15, 2022): 67–76. http://dx.doi.org/10.37482/2687-1505-v192.
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This article presents a semiotic analysis of Afghan tattoos done by Soviet soldiers in memory of their service in Afghanistan, when the Limited Contingent of Soviet Forces was deployed there (1979– 1989). As the material the author used photos of tattoos posted on six thematic websites. These tattoos were compared with similar sailor, prison and foreign military tattoos. The research found an essential difference between Afghan and prison tattoos and a strong influence of Western tattoo art on the former. At the same time, Afghan tattoos have unique forms of visual representation of the Soviet– Afghan War, which consist in using Islamic calendar, Arabic script, images of Soviet military vehicles and numerous Afghan toponyms. Interestingly, Afghan tattoos contain no official Soviet (hammer and sickle) or Eastern Orthodox (cross, angel, church, icon) symbols. Instead, we can see various animalistic images (eagle, tiger, wolf) and regimental identity insignia. Standing out among unofficial Soviet symbols represented in Afghan tattoos is the image of an eternal flame. Additionally, the research identified different modalities of perception of this war in tattoo art and Soviet/Russian cinematography: as a rule, films demonstrate the fatality of the Soviet–Afghan War, while in soldiers’ tattoos we observe a pronounced commemorative aspect and pride in their service in Afghanistan. On the whole, Afghan tattoos are an important cultural projection for understanding Soviet spiritual culture.
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Mehta, Suhaan. "Tradition and Tolerance." Religion and the Arts 20, no. 3 (2016): 336–54. http://dx.doi.org/10.1163/15685292-02003004.
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In Modernism and the Art of Muslim South Asia, Iftikhar Dadi demonstrates how Pakistani artists draw on a range of traditional and contemporary aesthetic practices and intellectual currents. Consistent with Finbarr Barry Flood’s criticism of the post-9/11 mobilization of “Islamic art” against neo-fundamentalism, Dadi argues that Pakistani artistic works cannot be reduced to performing an anti-hegemonic function. Here, I use Dadi and Flood’s claims to analyze the Pakistani-British author Nadeem Aslam’s mediation of the Persianate miniaturist Bihzad (1465–1535) in his novel The Wasted Vigil (2008). While Aslam reconfigures Bihzad to affirm and interrogate Buddhist and Islamic practices in Afghanistan, he nonetheless privileges a secular, aesthetic critique of neo-fundamentalism. Moreover, athough the scriptures are a source of creativity for Aslam, when decoupled from the arts they mostly inspire violence. This creates a binary between artistic and textual forms of Islam, essentializing art as an embodiment of tolerance.
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Chishty, Mahwish. "Drones & Cultural Aesthetic." Media-N 17, no. 2 (October 26, 2021): 93–111. http://dx.doi.org/10.21900/j.median.v17i2.765.
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Initially trained as a miniature painter at the National College of Arts, Lahore, Pakistan, the author has aggressively combined new media and conceptual work with her traditional practice. The work is intended to shed light on the complexity of acculturation, politics, and power. This visual essay documents and describes Chishty’s projects such as Drone Art Series and other works specifically related to Pakistan’s border relations with countries like India, China, and Afghanistan. The artist will share her inspiration and motivation behind the projects developed since 2011, including paintings, installations, and collaborative projects.
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Parafianowicz, Ryszard. "Operational Warfare in War College and War Studies University." Kwartalnik "Bellona" 697, no. 2 (August 21, 2019): 17–29. http://dx.doi.org/10.5604/01.3001.0013.3624.
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Having own operational warfare based on deeply rooted domestic military culture and positively verified combat cases, being now historical experiences inspiring next generations, is one of the foundations of the armed forces. Polish art of war in the 20th century developed freely in the Second Republic of Poland: it was a period, when the foundations for Polish operational art were established. Poland, in consequence of a betrayal by its western allies, after World War II found itself in the Soviet zone of influences, and this meant breaking up with the achievements of the Second Republic of Poland, including the art of war. Regaining Independence at the break of 1989/1990 was a distinct turning point in the development of the art of war, and meant the necessity to search for new solutions adequate for the challenges stemming from contemporary geopolitical location, as well as from its defense self-sufficiency. This required a new outlook on operational warfare. The following turning point was the membership in North-Atlantic Alliance and the participation of the Polish Armed Forces in stabilization operations in the Balkans, Iraq, and Afghanistan. Both in the Second Republic of Poland and today, military education of command and staff professionals had a significant impact on Polish operational art.
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Coyne, Christopher J., and Adam Pellillo. "The art of seeing like a state: State building in Afghanistan, the DR Congo, and beyond." Review of Austrian Economics 25, no. 1 (May 3, 2011): 35–52. http://dx.doi.org/10.1007/s11138-011-0150-8.
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Shoalieva, Nargiza. "THE ESSENCE OF HUMAN IN BEDIL’S CREATION." CURRENT RESEARCH JOURNAL OF PHILOLOGICAL SCIENCES 02, no. 09 (September 30, 2021): 110–16. http://dx.doi.org/10.37547/philological-crjps-02-09-24.
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Mirza Abdulkadir Bedil is a Persian-speaking poet, prose writer, philosopher and Indian thinker, very popular among the peoples of Central Asia and Afghanistan. In his work, Bedil analyzes the main part of the works of art and literature of Persian and Tajik poets from Rudaki to Jami and the literary and philosophical ideas of Sanayi, Attar, Jalaliddin Rumi and Ibn al-Arabi. The ancient philosophy of ancient Iran, Greece, India and Arabia laid the foundation for the development of literary and philosophical ideas, and as a result of relying on the achievements of the past, Mirza Bedil strengthened his philosophical thought.
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Ghosh, Suchandra. "Iran and India in the early historic period: A preview of their politico-cultural interface." Studies in People's History 5, no. 2 (October 12, 2018): 154–65. http://dx.doi.org/10.1177/2348448918795741.
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The Achaemenid Empire’s expansion towards the Indus basin initiated a new confluence of Iranic and Indian cultures. Alexander’s conquests added a Greek component to this confluence, marked by Aśoka’s Aramaic and Greek edicts. The Seleucids and their successor Greek states in Bactria and other parts of Afghanistan, while continuing their homage to Greek divinities on coins, also incorporated concepts, customs and art inherited from the Achaemenids. Their Saka and Parthian successors continued the same policy as indicated by their cons. It was the Kushans beginning with Kanishka (with Huvishka continuing the practice) who shifted to Iranian gods and goddesses.
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Qadir Sarwari, Abdul. "A Study of the Art of Painting in Kabul." Shanlax International Journal of Arts, Science and Humanities 8, no. 2 (October 1, 2020): 16–26. http://dx.doi.org/10.34293/sijash.v8i2.3422.
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Today, in most countries, painting has made great progress, along with science and technology. Recently, relative attention have been paid in the scientific, cultural, and social fields in Afghanistan, especially in Kabul, but little progress in the field of painting. In this research, an attempt was made to study the art of painting in Kabul, which its result would be important for those who are interested in the art of painting.Both library and field research methods have been used for collecting data. In the background section, some authoritative books, articles, and magazines have been used. In the field research method, some observations and interviews were used to collect data. The aim of the study was to study the art of painting in Kabul from the perspective of experts, professors of the Kabul College of Fine Arts, and directors of painting galleries in Kabul. It is summarized as follows:Painting in Kabul is relatively stagnant due to insecurity, war, religious prejudice, the irresponsibility of the Ministry of Information and Culture, and the lack of public awareness. Only from a specialist, slight changes can be seen in the works of painters. These changes have taken place in the field of painting since 2002, due to the movement of artists abroad, and have opened up new perspectives. Some of the painters’ works represent their efforts in search of having a unique and new method. However, most of the paintings are portraying the same method and repetitive subjects as in the past.
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Minichiello, Mario. "The Art of Conflict Afghanistan: Things Unseen and the End of the World as we know it." International Journal of Diversity in Organizations, Communities, and Nations: Annual Review 4, no. 1 (2006): 0. http://dx.doi.org/10.18848/1447-9532/cgp/v04/38797.
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SKUPNIEWICZ, Patryk. "Archers from Rag-i Bibi. Notes on the equipment depicted on Rag-i Bibi relief (Northern Afghanistan)." Historia i Świat 11 (August 28, 2022): 115–24. http://dx.doi.org/10.34739/his.2022.11.06.
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The rock relief discovered in Rag-e Bibi in Northern Afghanistan in 2002 remains an archaeological sensation. The archery equipment depicted there has not yet been studied. The article describes the bow cases combined with quivers and associates them with the same type of kit popular in Eurasia related with spread of the recurved bows with stiff bone or horn extensions of Xiong Nu/Hunnictype. This type of bows replaced shorter 'Scythian' type of bows in 1st-2nd century CE. The integrated bow case and quiver went out of use soon before the rise of the Sasanians therefore Rag-e Bibi cannot be linked with this dynastic art, based also on the depicted elements of material culture, as well as on stylistic grounds.
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Cunningham, Nathan W. "Drawing Down Bribery Risks: Complying with the FCPA While Doing Business in Afghanistan in 2014 and Beyond." Global Trade and Customs Journal 9, Issue 10 (October 1, 2014): 464–77. http://dx.doi.org/10.54648/gtcj2014057.
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Changes in Afghanistan's security environment present challenges for western companies operating in Afghanistan; many will see an increased reliance on local partners, a higher tolerance of dangerous environments, and greater exposure to corruption risks. Given Afghanistan's entrenched culture of corruption, companies must minimize the corresponding risk under the Foreign Corrupt Practices Act ("FCPA"). This article provides a primer on the FCPA's provisions to give compliance personnel guidance. It contains a description of certain payments demanded by the Afghan government from companies supporting U.S. government operations in Afghanistan to illustrate certain difficulties with doing business in Afghanistan as well as a description of the general characteristics of doing business in Afghanistan. It concludes with recommendations for companies doing business in Afghanistan.
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Meinert, Philipp, and Franziska Strauß. "Amtshaftung der Bundeswehr für Rechtsverletzungen im Rahmen von UN-Friedensmissionen." JURA - Juristische Ausbildung 33, no. 5 (May 2011): 321–29. http://dx.doi.org/10.1515/jura.2011.059.
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Aufgrund der in den letzten Jahren zunehmenden Zahl der Auslandseinsätze unter dem Dach der UN kann man die Bundeswehr ohne weiteres mit dem Prädikat »Armee im Einsatz« versehen. Im Rahmen dieser Einsätze kann es zu Individualrechtsgutsverletzungen kommen, die haftungsrechtliche Ausgleichsbegehren der Opfer entstehen lassen. Das zeigt aktuell die von Bremer Anwälten im Namen von 78 afghanischen Familien angeregte außergerichtliche Einigung – als Folge der Luftangriffe auf die Tanklastzüge in Afghanistan – mit dem Bundesverteidigungsministerium. Zwar wurde dieser Einsatz nicht von der Bundeswehr selbst geflogen, jedoch geht er auf eine deutsche Anforderung zurück. Es stellt sich die Frage, ob die Bundesrepublik Deutschland im Rahmen von UN-Friedenseinsätzen für Handlungen ihrer Soldaten rechtlich verantwortlich ist und als Folge daraus gemäß Art. 34 GG i.V. m. § 839 BGB für entstandene Schäden haften muss. Dem widmet sich der vorliegende Beitrag.
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Macouin, Francis. "De l’Indochine a l’Afghanistan: des arts etrangers dans les bibliotheques Parisiennes." Art Libraries Journal 18, no. 2 (1993): 26–33. http://dx.doi.org/10.1017/s0307472200008312.
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French interest in India and neighbouring regions dates back to the 17th century. Oriental studies developed as a distinct discipline through the 19th century, stimulated in France by French colonial activities in Indochina, and culminating at the end of the century in the emergence of Oriental art and archaeology as a subject in its own right. The Commission Archéologique de l’Indochine was established in 1898, and became the Ecole Francaise d’Extrême-Orient (EFEO) in 1901 with responsibility for listing and protecting antiquities in the French colonies; its library in Paris constitutes a major resource. France’s relationship with Afghanistan facilitated French archaeological activities in that country until 1975; archaeological finds enabled the Musée Guimet to extend its scope and to become a museum of Asiatic art, and its library became and remains the major library in Paris so far as Asian art is concerned. The library of the Ecole du Louvre supports courses on Asian art, while the Bibliothèque Nationale and such libraries as the Bibliothèque Forney also contain valuable collections. Photographic collections in some of these institutions have not been so well looked after as books, and their condition is a matter of concern. Unpublished archival materials are also held in some of the same institutions. The resources of a number of smaller, specialised institutes are currently being brought together in a new building under the name ‘Institute d’Asie du Collège de France’, while some other collections are being linked with the library of the EFEO to create a ‘Bibliothèque d’Asie’. Meanwhile it remains to be seen whether the new Bibliothèque Nationale des Arts will include the arts of Asia within its scope. No library in France has responsibility for modern Indian art. (An English translation follows the text in French).
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Dr Rizwana Naqvi. "MASOOD SAAD SALMAN." Tasdiqتصدیق۔ 4, no. 2 (December 30, 2022): 173–95. http://dx.doi.org/10.56276/tasdiq.v4i2.123.
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Masood Saad Salman was a great but unfortunate poet of Lahore. He saw the ruling period of six Ghaznvi sovereigns but passed almost 20 years of his life in prison faultlessly. Masood was a genius of his era who suffered a lot of adversities but didn’t give up, rather than these calamities embellished his art. His ancestors were related to Afghanistan & Middle East but he was born in the lap of Punjab’s heart the ‘Lahore’ so feels like an amorous & loving son of this soil in his poetry. He was the choicest poet of encomium (Qaseeda) yet he has practiced in all pieces of poetry but his afflicted odes which are called ‘Jassiyat’ are masterworks. His encomium and ‘Jassiyat’ are not only a masterpiece of poetry but also become authentic sources of history by their chronology, another special aspect of these ‘Jassiyat’ is the love for r homeland where the poet pulsator like Blackbird in the detachment of his homeland Lahore. His poetry has such artistic qualities that it has bewitched not only the east but western poets & critics are also admirers of him especially prof Brown and Eliot who have translated his poetry and written books on his great art. In Urdu literature he has considered the foremost poet of the Urdu language on the account of Mohammad Oofi and Ameer Khusro however his Urdu Deewan is not available. This article throws light upon the life and art of Masood Saad Salman.
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Levine, Evan I., and Daniel Plekhov. "Reconsidering Rag-i Bibi: Authority and audience in the Sasanian East." Afghanistan 2, no. 2 (October 2019): 233–60. http://dx.doi.org/10.3366/afg.2019.0037.
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The Sasanian rock-cut relief of Rag-i Bibi, located in northern Afghanistan, offers a unique opportunity to reconsider issues of audience, memory, and power in rupestral art. Found over 1,000 kilometers east of the nearest attested Sasanian rupestral relief, Rag-i Bibi is geographically and iconographically distinct, displaying elements of local subject matter, artistic style, and political symbolism. Through comparison to reliefs in the Sasanian west and local artistic traditions, the stylistics and location of Rag-i Bibi are mobilized to offer a perspective that characterizes this relief as the product of Sasanian Persia and the local artistic traditions of Bactria, actively designed to appeal to a diverse audience. This perspective builds upon previous readings of Rag-i Bibi as a conventional marker of political power, arguing instead for its role as mediating between local, regional, and international audiences.
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Grabska, Katarzyna, and Cindy Horst. "Introduction." Conflict and Society 8, no. 1 (June 1, 2022): 172–91. http://dx.doi.org/10.3167/arcs.2022.080111.
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Violent conflict and displacement reconfigure societies in abrupt, dramatic, and often contradictory ways. Power relations are often shaken up, with new social hierarchies emerging. Artists play a central role in periods of uncertainty and volatility, both as commentators of events and as inspirators for change. This special section explores the role of art practice in transformation in contexts of violent conflict and displacement. The articles focus on artists that either create in the context of oppression and control or respond to these contexts by creating spaces of resistance, life in and with violent conflict, transformation, and inspiration. The articles discuss a range of initiatives and artistic practices that take place in a variety of contexts, from artists involved in societal transformation in Afghanistan, Cambodia, and Syria, to artists working in Palestine, Chad, Sri Lanka, and Bosnia and Herzegovina.
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Lee, A. J., I. E. Gibb, and T. Stevenson. "How has military use of medical imaging in austere environments changed? A comparison between deployments of the Victorian era and today." Journal of The Royal Naval Medical Service 104, no. 2 (2018): 139–47. http://dx.doi.org/10.1136/jrnms-104-139.
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AbstractOver 100 years ago, in the late 19th century, the British military first deployed radiological equipment to theatres of war, notably to Afghanistan during the Tirah campaign and to Sudan during the River War. The efforts of early radiological pioneers, and the clear diagnostic utility their equipment offered, quickly saw radiology formally incorporated into military medicine as its own discipline. The two World Wars saw the specialisation advance rapidly in scope and capability. To draw comparison with earlier conflicts, the early 21st century saw modern medical imaging equipment utilised in the same geographical regions: first as part of Op HERRICK in Afghanistan from 2003-14; and currently as part of Op TRENTON in South Sudan.In the intervening period throughout the 20th century, the capability has developed enormously. Initially the ‘Roentgen Ray’, X-ray was used to identify bone fractures and locate and identify foreign bodies located within wounds, thus reducing the risk of infection and further trauma previously inflicted by surgical exploration, whilst also giving added precision to extraction of bullets and fragmentation. Modern day military radiology further improves diagnostic capability, giving a more comprehensive picture of injuries sustained and providing assistance in treatment. State-of-the-art radiological equipment can now be routinely operated in the most austere military environments. Nonetheless, modern military radiologists face similar challenges to their Victorian counterparts in delivering capability, notably climate, equipment fragility and environmental hazards. Whilst equipment continues to evolve, the need for resourcefulness and adaptability amongst those personnel operating and maintaining it remains undiminished.
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Balogh, Péter. "In the focus: NATO Alliance Ground Surveillance System." Academic and Applied Research in Military and Public Management Science 12, no. 2 (December 31, 2013): 165–79. http://dx.doi.org/10.32565/aarms.2013.2.1.
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NATO plans to acquire an Alliance Ground Surveillance (AGS) system that will give commanders a comprehensive picture of the situation on the ground. NATO’s operations in Kosovo, Afghanistan and Libya showed how important such a capability is. A group of Allies intends to acquire five unmanned aerial vehicles (UAVs) and their associated command and control base stations. NATO will then operate and maintain them on behalf of all 28 Allies. At the May 2012 NATO Chicago Summit there were several important topics discussed. The broader public learned the Smart Defence and Alliance Ground Sur- veillance System (AGS) expressions as frequently repeated issues in the politico– military environment. This paper shall highlight the AGS’s necessity, to be set up as a Joint NATO capability giving historical background as well as creating a state of the art Intelligence, Surveillance, Target Aquisition and Reconnaissance (ISTAR) solution for the Alliance.
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Teff, Richard J. "Use of neurosurgical decision-making and damage-control neurosurgery courses in the Iraq and Afghanistan conflicts: a surgeon's experience." Neurosurgical Focus 28, no. 5 (May 2010): E9. http://dx.doi.org/10.3171/2010.2.focus1017.
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A shortage of Coalition neurological surgeons in the Iraq conflict prompted a creative approach to standardized neurosurgical care in 2007. After formulation of theater-wide clinical pathway guidelines, a need for standardized triage and neurological resuscitation was identified. The object was to establish a simple, reproducible course for medics, forward surgical and emergency room personnel, and other critical care providers to quickly standardize the ability of all deployed health care personnel to provide state-of-the-art neurosurgical triage and damage-control interventions. The methods applied were Microsoft PowerPoint presentations and hands-on learning. The year-long project resulted in more than 100 individuals being trained in neurosurgical decision making and in more than 15 surgeons being trained in damage-control neurosurgery. At the year's conclusion, hundreds of individuals received exceptional neurosurgical care from nonneurosurgical providers and a legacy course was left for future deployed providers to receive ongoing education at their own pace.
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Beattie, Hugh. "Art and Archaeology of Afghanistan Its Fall and Survival A Multi-Disciplinary Approach. By Juliette van Krieken-Pieters. pp. xxi, 412. Leiden, Brill, 2006." Journal of the Royal Asiatic Society of Great Britain & Ireland 20, no. 2 (March 5, 2010): 229–31. http://dx.doi.org/10.1017/s1356186309990587.
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Abdul Salam, Muhammad Ismail bin. "The Islamic Ethics in the poetry of ‘Abdullah bin al-Mubarak." Journal of Islamic and Religious Studies 2, no. 1 (June 30, 2017): 57–67. http://dx.doi.org/10.36476/jirs.2:1.06.2017.17.
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‘Abdullah bin al-Mubark was born in Marw’ one of the prime cities in Khurasan, (nowadays in the surroundings of Afghanistan and Central Asia), in the year 118 AH. In addition to his many talents, achievements and abilities, ‘Abdullah bin al-Mubarak was also gifted in literacy, particularly in the art of poetry. He held an eloquent tongue which was recognized by all who conversed with him and his language displayed the nature of someone who had been taught well. Most of the poetry which has been recorded from him is actually his advice to others, whether they were close friends or high-ranking Caliphs and Rulers. The topics spoken of concerned the common issues which had arisen in his time (e.g. matters pertaining to theology, politics, the worldview, the community etc) and as always, they contained much wisdom and hence the books of history have sealed them and recorded them. This research article discussed Biography of Abdullah ibn Al Mubarak, The Islamic Ethics in his poetry, Impact of Rhetoric on his poetry with special concentration on the four kinds i.e. citation, impact of Quranic words, Quranic pictorial and Quranic style on his poetry.
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Dr. Imran Khan and Dr. Karim Haider Syed. "The strategic relations of Pakistan and Russia in 21st Century." Research Journal of Social Sciences and Economics Review (RJSSER) 2, no. 1 (March 7, 2021): 259–65. http://dx.doi.org/10.36902/rjsser-vol2-iss1-2021(259-265).
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A systematic investigation of the steps that Russia has taken after 9/11 to improve strategic relations with Pakistan gives an idea of why it is moving so carefully towards Pakistan. Now it has become important to see what kind of steps Russia has taken to further enhance strategic relations with Pakistan. In June, 2014 the Russian leadership began negotiations to provide Pakistan with state-of-the-art war helicopters to combat drug traffickers (Ullah, 2014, p.1). This development has taken as a surprise in the international community and certainly is not one that can be easily overlooked. The United States and Europe are looking disturbed and some experts have made suppositions that Russia is maneuvering the withdrawal of NATO forces by increasing instability in Afghanistan to increase its role in the aftermath of the withdrawal of NATO forces. In the new situation, Pakistan will have to be strengthened at the front of foreign policy so that it can better cope with the state of affairs that can emerge after the withdrawal of NATO forces. Some experts believe that Russia no longer wanted to make things one-sided and want to increase the role of other stakeholders of the region in the solution of Afghanistan. In the past Russia has paid extraordinary attention to India and ignored Pakistan. These experts believe that Russia now wanted to create a balance of power in the region through cooperation with Pakistan and is trying not to give too much to any one country in the world. Talks between Pakistani Prime Minister Imran Khan and Russian President Putin during the SCO summit in June 2019 were highlighted in the national media of Pakistan and Russia as well as in the international media (Pakistan eyes new horizons with Russia, 2019). The history and nature of Pakistan-Russia relations have been very unique and interesting. Pakistan and Russia relations teach the lesson that elements like sentimentality, friendship, and enmity have no place in international relations. In the modern state system, these are the national interests, based on which the two states can come closer to each other and work together to achieve their goals by putting their difference of past behind the scene.
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Makhmudova, Malika, and Mukhayyo Makhmudova. "THE ROLE OF RESTORATION AND SCIENTISTS IN THE PRESERVATION OF ARCHITECTURAL MONUMENTS OF THE TEMURID PERIOD." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 575–87. http://dx.doi.org/10.17770/sie2021vol4.6290.
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The article introduces the history of researches and study of the restoration of architectural monuments of the Temurid period. The architecture of the Temurid period of the Central Asian countries and Afghanistan, covering the period from the 14thto the 15thcenturies, is one of the brightest phenomena of world architecture. Amir Temur was one of the few leaders who was not only the creator of outstanding architectural masterpieces, but was also able to form a special architectural style in his state. The gardening art of this period also reached a high development. Therefore, the study and research of the architecture of this period, as well as its restoration is an extremely important task in world architecture. In this regard, the scientific, research, restoration works of many famous scientists, architects, architects-restorers are of great importance. Among them are Mauer, Zasypkin, Pugachenkova, Mankovskaya, Notkin, Zakhidov, Kryukov, Filimonov and many others who made invaluable contribution to the formation of and the development of the restoration school of Uzbekistan, as well as in the promotion and preservation of the cultural heritage of the Temurid period both in Uzbekistan and abroad. The experience of methods of restoration and conservation of architectural monuments of the Temurid period, including their architectural, compositional and artistic solution is considered and studied in the article.
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Krasner, Stephen D. "State, Power, Anarchism." Perspectives on Politics 9, no. 1 (March 2011): 79–83. http://dx.doi.org/10.1017/s1537592710003312.
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The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia.By James C. Scott. New Haven: Yale University Press, 2009. 464p. $35.00.The book under discussion is James C. Scott's latest contribution to the study of agrarian politics, culture, and society, and to the ways that marginalized communities evade or resist projects of state authority. The book offers a synoptic history of Upland Southeast Asia, a 2.5 million–kilometer region of hill country spanning Vietnam, Cambodia, Laos, Thailand, Burma, and China. It offers a kind of “area study.” It also builds on Scott's earlier work on “hidden transcripts” of subaltern groups and on “seeing like a state.” The book raises many important theoretical questions about research methods and social inquiry, the relationship between political science and anthropology, the nature of states, and of modernity more generally. The book is also deeply relevant to problems of “state-building” and “failed states” in places like Afghanistan, Iraq, and Somalia. As Scott writes, “The huge literature on state-making, contemporary and historic, pays virtually no attention to its obverse: the history of deliberate and reactive statelessness. This is the history of those who got away, and state-making cannot be understood apart from it. This is also what makes it an anarchist history” (p. x).In this symposium, I have invited a number of prominent political and social scientists to comment on the book, its historical narrative, and its broader theoretical implications for thinking about power, state failure, state-building, and foreign policy. How does the book shed light on the limits of states and the modes of resistance to state authority? Are there limits, theoretical and normative, to this “anarchist” understanding of governance and the “art of being governed”?—Jeffrey C. Isaac, Editor
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Roberts, Neil. "State, Power, Anarchism." Perspectives on Politics 9, no. 1 (March 2011): 84–88. http://dx.doi.org/10.1017/s1537592710003324.
Full textAbstract:
The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. By James C. Scott. New Haven: Yale University Press, 2009. 464p. $35.00.The book under discussion is James C. Scott's latest contribution to the study of agrarian politics, culture, and society, and to the ways that marginalized communities evade or resist projects of state authority. The book offers a synoptic history of Upland Southeast Asia, a 2.5 million–kilometer region of hill country spanning Vietnam, Cambodia, Laos, Thailand, Burma, and China. It offers a kind of “area study.” It also builds on Scott's earlier work on “hidden transcripts” of subaltern groups and on “seeing like a state.” The book raises many important theoretical questions about research methods and social inquiry, the relationship between political science and anthropology, the nature of states, and of modernity more generally. The book is also deeply relevant to problems of “state-building” and “failed states” in places like Afghanistan, Iraq, and Somalia. As Scott writes, “The huge literature on state-making, contemporary and historic, pays virtually no attention to its obverse: the history of deliberate and reactive statelessness. This is the history of those who got away, and state-making cannot be understood apart from it. This is also what makes it an anarchist history” (p. x).In this symposium, I have invited a number of prominent political and social scientists to comment on the book, its historical narrative, and its broader theoretical implications for thinking about power, state failure, state-building, and foreign policy. How does the book shed light on the limits of states and the modes of resistance to state authority? Are there limits, theoretical and normative, to this “anarchist” understanding of governance and the “art of being governed”?—Jeffrey C. Isaac, Editor
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Greenhouse, Carol J. "State, Power, Anarchism." Perspectives on Politics 9, no. 1 (March 2011): 88–92. http://dx.doi.org/10.1017/s1537592710003336.
Full textAbstract:
The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. By James C. Scott. New Haven: Yale University Press, 2009. 464p. $35.00.The book under discussion is James C. Scott's latest contribution to the study of agrarian politics, culture, and society, and to the ways that marginalized communities evade or resist projects of state authority. The book offers a synoptic history of Upland Southeast Asia, a 2.5 million–kilometer region of hill country spanning Vietnam, Cambodia, Laos, Thailand, Burma, and China. It offers a kind of “area study.” It also builds on Scott's earlier work on “hidden transcripts” of subaltern groups and on “seeing like a state.” The book raises many important theoretical questions about research methods and social inquiry, the relationship between political science and anthropology, the nature of states, and of modernity more generally. The book is also deeply relevant to problems of “state-building” and “failed states” in places like Afghanistan, Iraq, and Somalia. As Scott writes, “The huge literature on state-making, contemporary and historic, pays virtually no attention to its obverse: the history of deliberate and reactive statelessness. This is the history of those who got away, and state-making cannot be understood apart from it. This is also what makes it an anarchist history” (p. x).In this symposium, I have invited a number of prominent political and social scientists to comment on the book, its historical narrative, and its broader theoretical implications for thinking about power, state failure, state-building, and foreign policy. How does the book shed light on the limits of states and the modes of resistance to state authority? Are there limits, theoretical and normative, to this “anarchist” understanding of governance and the “art of being governed”?—Jeffrey C. Isaac, Editor
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Manicas, Peter. "State, Power, Anarchism." Perspectives on Politics 9, no. 1 (March 2011): 92–98. http://dx.doi.org/10.1017/s1537592710003348.
Full textAbstract:
The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. By James C. Scott. New Haven: Yale University Press, 2009. 464p. $35.00.The book under discussion is James C. Scott's latest contribution to the study of agrarian politics, culture, and society, and to the ways that marginalized communities evade or resist projects of state authority. The book offers a synoptic history of Upland Southeast Asia, a 2.5 million–kilometer region of hill country spanning Vietnam, Cambodia, Laos, Thailand, Burma, and China. It offers a kind of “area study.” It also builds on Scott's earlier work on “hidden transcripts” of subaltern groups and on “seeing like a state.” The book raises many important theoretical questions about research methods and social inquiry, the relationship between political science and anthropology, the nature of states, and of modernity more generally. The book is also deeply relevant to problems of “state-building” and “failed states” in places like Afghanistan, Iraq, and Somalia. As Scott writes, “The huge literature on state-making, contemporary and historic, pays virtually no attention to its obverse: the history of deliberate and reactive statelessness. This is the history of those who got away, and state-making cannot be understood apart from it. This is also what makes it an anarchist history” (p. x).In this symposium, I have invited a number of prominent political and social scientists to comment on the book, its historical narrative, and its broader theoretical implications for thinking about power, state failure, state-building, and foreign policy. How does the book shed light on the limits of states and the modes of resistance to state authority? Are there limits, theoretical and normative, to this “anarchist” understanding of governance and the “art of being governed”?—Jeffrey C. Isaac, Editor
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Clunan, Anne. "State, Power, Anarchism." Perspectives on Politics 9, no. 1 (March 2011): 99–102. http://dx.doi.org/10.1017/s153759271000335x.
Full textAbstract:
The Art of Not Being Governed: An Anarchist History of Upland Southeast Asia. By James C. Scott. New Haven: Yale University Press, 2009. 464p. $35.00.The book under discussion is James C. Scott's latest contribution to the study of agrarian politics, culture, and society, and to the ways that marginalized communities evade or resist projects of state authority. The book offers a synoptic history of Upland Southeast Asia, a 2.5 million–kilometer region of hill country spanning Vietnam, Cambodia, Laos, Thailand, Burma, and China. It offers a kind of “area study.” It also builds on Scott's earlier work on “hidden transcripts” of subaltern groups and on “seeing like a state.” The book raises many important theoretical questions about research methods and social inquiry, the relationship between political science and anthropology, the nature of states, and of modernity more generally. The book is also deeply relevant to problems of “state-building” and “failed states” in places like Afghanistan, Iraq, and Somalia. As Scott writes, “The huge literature on state-making, contemporary and historic, pays virtually no attention to its obverse: the history of deliberate and reactive statelessness. This is the history of those who got away, and state-making cannot be understood apart from it. This is also what makes it an anarchist history” (p. x).In this symposium, I have invited a number of prominent political and social scientists to comment on the book, its historical narrative, and its broader theoretical implications for thinking about power, state failure, state-building, and foreign policy. How does the book shed light on the limits of states and the modes of resistance to state authority? Are there limits, theoretical and normative, to this “anarchist” understanding of governance and the “art of being governed”?—Jeffrey C. Isaac, Editor