Journal articles: 'Art – Political aspects – Zimbabwe'

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Rohmer, Martin. "Form as Weapon: the Political Function of Song in Urban Zimbabwean Theatre." New Theatre Quarterly 16, no. 2 (May 2000): 148–54. http://dx.doi.org/10.1017/s0266464x0001366x.

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In Zimbabwean society, what may not be spoken sometimes becomes acceptable in song – whether to avoid social taboos and enable a wife to complain against her mother-in-law, or in broadening the boundaries of political protest. In this article, Martin Rohmer looks back to the ways in which song enabled forms of protest against forced labour and other aspects of colonial rule – in times of outward compliance as well as of direct struggle – and considers how urban theatre groups in independent Zimbabwe have adapted the tradition to their own, contemporary ends. Martin Rohmer spent almost two years studying Zimbabwean theatre when a research assistant at the University of Bayreuth, and completed his doctorate on Theatre and Performance in Zimbabwe at the Humboldt University, Berlin, in 1997. Since then he has been working in the field of cultural management for the Young Artists' Festival in Bayreuth. The present paper was first presented at the Annual Meeting of the African Studies Association in San Francisco in November 1996.

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Naldi, Gino J. "Land Reform in Zimbabwe: Some Legal Aspects." Journal of Modern African Studies 31, no. 4 (December 1993): 585–600. http://dx.doi.org/10.1017/s0022278x00012258.

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The Government of Zimbabwe has only recently begun to implement the commitment of the liberation movements to give land to poor ‘communal’ farmers, especially those dispossessed by the whiteminority régime after Rhodesia's unilateral declaration of independence in 1965. It needs to be recalled that by virtue of the Land Tenure Act of 1969 almost half of the country's agricultural land was allocated to Europeans, who had ‘greater access to the regions considered suited to intensive crop and livestock production’, and that ‘On average, each of the nearly 7,000 European farms was roughly 100 times the size of any of the 700,000 or so holdings in the Tribal Trust Lands’. The fact that much of this land was under-utilised only served to increase African resentment.

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Uusihakala, Katja. "Revising and Re-voicing a Silenced Past." Suomen Antropologi: Journal of the Finnish Anthropological Society 44, no. 1 (September 20, 2019): 51–69. http://dx.doi.org/10.30676/jfas.v44i1.75068.

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Focusing on Prime Minister Gordon Brown’s apology to British child migrants in 2010, this article proposes that public apology, as a moral and political act, is a compelling site for examining attempts to redefine and redress previously silenced pasts. Postwar child migration has been something of a silenced chapter in British history. In my research I examine one such child migration scheme, namely a project which sent select British children (aged 4 to 13) to colonial Southern Rhodesia—today’s Zimbabwe—between 1946 and 1962. Through this case, I discuss two intertwined aspects of the transformative intentions of apologizing. First, the apology aims at amending the relationship between the apologizer and the victims and at remodeling the recipients’ political subjectivities. Second, the apology discloses distinct, but contradictory, understandings about the relationship between past, present, and future. It emphasizes the continuous effects the past has in the present, but simultaneously purports to create a temporal break with the past, marked by a moral transformation of the state. However, although the apology aspires and has potential to give voice to those previously silenced and to re-articulate a more legitimate version of the past, its framing eliminates the broader historical context of the Empire. Thus, while partially overcoming silences, the article suggests, the apology also reproduces and reinforces others.

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Fagan, Brian, and Peter Garlake. "The Hunter's Vision: The Prehistoric Art of Zimbabwe." International Journal of African Historical Studies 30, no. 1 (1997): 248. http://dx.doi.org/10.2307/221610.

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Mlotshwa, Khanyile. "Matabeleland and the Rulers’ Political Sins: Defining Subversive Art in Zimbabwe." Metacritic Journal for Comparative Studies and Theory 5, no. 1 (July 10, 2019): 77–95. http://dx.doi.org/10.24193/mjcst.2019.7.04.

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Ndakaripa, Musiwaro. "‘Zimbabwe is open for business’: Aspects of post-Mugabe economic diplomacy." South African Journal of International Affairs 27, no. 3 (July 2, 2020): 363–89. http://dx.doi.org/10.1080/10220461.2020.1826355.

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7

Moyo, Jonathan N. "State Politics and Social Domination in Zimbabwe." Journal of Modern African Studies 30, no. 2 (June 1992): 305–30. http://dx.doi.org/10.1017/s0022278x00010739.

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Few can doubt the proposition that there is an important difference between information and knowledge, and that more of the former does not necessarily lead to the latter. Whereas a great deal has been written from all manner of perspectives about the situation in Africa both before and since independence, the resulting corpus of literature has seldom yielded a mainstream understanding of basic aspects of state politics. Doubtless many feel that the more they read about the continent, the less they known about what is going on and why.

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Caillaud, Bernard. "Image, algorithme et aleatoire: Aspects du technoscience art." International Review of Sociology 5, no. 1 (March 1994): 173–82. http://dx.doi.org/10.1080/03906701.1994.9971165.

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Pikirayi, Innocent. "The Kingdom, the Power and Forevermore: Zimbabwe Culture in Contemporary Art and Architecture." Journal of Southern African Studies 32, no. 4 (December 2006): 755–70. http://dx.doi.org/10.1080/03057070600995681.

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Förster, Yvonne. "Art and Technology." Yearbook for Eastern and Western Philosophy 2018, no. 3 (May 27, 2019): 122–34. http://dx.doi.org/10.1515/yewph-2018-0009.

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AbstractThe world we live in is shaped by technology and its development. This process is observed and debated in the humanities as well as in computer science and cognitive sciences. Narratives of human life being merged with and transcended by technology not only belong to science fiction but also to science: Theorists like Katherine Hayles or Mark B. N. Hansen speak of a technogenesis of consciousness. These accounts hold that our cognitive abilities are deeply influenced by technology and digital media. The digitalization of the lifeworld is a global phenomenon, which unfolds regardless of local cultures. It is art which seeks to explore the experiential aspects of technologically shaped life-worlds. In my contribution I will present examples of artworks which focus on the possibility of aesthetic experiences with new technologies and getting in touch with the so-called technological unconscious. I attempt to investigate the potential of art to unfold experiential aspects of human rapport with technology and thereby develop aisthetic practices for understanding the cultural and political dimensions of digitalized life-worlds.

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Keylin, Vadim. "Postcritical Listening: Political affordances in participatory sound art." Organised Sound 25, no. 3 (November 30, 2020): 353–61. http://dx.doi.org/10.1017/s135577182000031x.

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This article makes an argument for the postcritical treatment of the politics of sound art. Counterpointing an autoethnographic analysis of Kristina Kubisch’s Electrical Walks with Seth Kim-Cohen’s critical reading of the same work, I show how a critical position detached from the lived experience leaves behind a wealth of meanings necessary to understand the political potential of sound art. This gap, I argue, necessitates a ‘radical empiricist’ approach shifting the focus from the artistic intent to the lived experiences of the audience and the effects sound art may have on their lives. Drawing on autoethnographic and ethnographic accounts of Kaffe Matthews’s sonic bike rides and Benoît Maubrey Speaker Sculptures, as well as Rita Felski’s project of postcritical reading, I develop a theoretical framework for the politics of sound art based around the concept of affordance. The term ‘affordance’ in this context refers to the possibilities of political meaning or political action an artwork offers to the participants without imposing a particular interpretation on them. I finish by discussing three aspects of political affordances in sound art: meaning-making, uses of sound art and access to participation.

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Akinsha, Konstantin. "Restitution as Diagnosis: Political Aspects of the “Trophy Art” Problem and Russian-German Relations." New German Critique 44, no. 1 130 (February 2017): 75–86. http://dx.doi.org/10.1215/0094033x-3705703.

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Millner, Jacqueline. "Caring through art: Reimagining value as political practice." Art & the Public Sphere 8, no. 2 (December 1, 2019): 163–74. http://dx.doi.org/10.1386/aps_00014_1.

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Recent feminist critiques of neo-liberalism have argued for care as an alternative structuring principle for political systems in crisis and have proposed that the transformation of the existing capitalist order demands the abolition of the (gendered) hierarchy between ‘care’ ‐ the activities of social reproduction that nurture individuals and sustain social bonds ‐ and economic production. Key to answering what it might mean for care to become the central concern or core process of politics is imagining alternatives outside deeply ingrained and guarded conventions. It is in this imagining that artists have much to contribute, more so still because for many artists, maintaining a practice in neo-liberal contexts demands nurturing collectivities, sensitivities and resourcefulness ‐ essential aspects of care. By focusing on recent Australian examples, this article examines what role artists can play in engaging with, interpreting or enacting care in practices ‐ such as works of self-care, care for country and the environment, care for material culture and heritage, care for institutions and processes, and care for others ‐ which might help forge an alternative ethics in the age of neo-liberalism. This exploration is driven by the need for a contemporary values revolution as we ‐ as a species, as a planet ‐ face existential threats including climate emergency and terminal inequality. Can art be a generative site to work towards alternative ethics that privilege trans-subjective relations predicated on attentiveness and tending, on spending time, on holding space?

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Otekunrin, Adegbola, Kudzanai Matowanyika, and Chena Tafadzwa. "An Analysis of the Aspects Hampering Informal Sector Tax Administration: Case of the Zimbabwe Revenue Authority." International Journal of Financial Research 12, no. 5 (June 10, 2021): 10. http://dx.doi.org/10.5430/ijfr.v12n5p10.

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The main focus of the study was to ascertain the potential of the informal sector to provide much-needed revenue for the government. It also focused on the challenges faced in informal sector revenue taxation and possible solutions thereof. The Zimbabwe revenue authority has maintained presumptive tax for the sector and subcontracting to the city of Harare for the collection of revenue from the informal sector. Despite all this, the industry still underperformed in terms of revenue raised. The study sought to find out challenges of taxing the informal sector, the potential of the informal sector, the effectiveness of the Zimbabwe revenue authority in taxing the informal sector, and possible ways of improving the taxing of this rampant sector. The study found out that there is great potential from the informal sector, but turning it into tangible gains has been elusive due to political interference, lack of proper infrastructure, unfair application of tax laws and general mistrust of the government. The study recommended that the government ought to play an active role by making sure there is the political will to make sure that players in the informal sector contribute to the focus in line with Adam Smith’s general principles which include fairness and equity. There is a need for staffing levels to be commensurate with the workloads and also the motivation of the employees. The research also recommended the adaptation of Information Communication Technology to ensure accountability and traceability of transactions in the informal sector as they move away from a cash-based system recommendation.

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Mutanda, Darlington. "Post-Colonial Violence in Zimbabwe and the Significance of Peacebuilding Premised on Civilian Survival Strategies." Journal of Peacebuilding & Development 14, no. 2 (May 27, 2019): 179–92. http://dx.doi.org/10.1177/1542316619850159.

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Guided by the theory of conflict transformation, this article contributes to knowledge through articulating the significance of peacebuilding that is centred on civilian survival strategies (CSS) of flight, silence, voice, and joining the perpetrators of violence. The purpose is to articulate what could be done to promote reconciliation and build peace in a heavily polarised environment. CSS aid in identifying, from the perspective of the victims and even witnesses, the aspects that need to be built into the reconciliation process in Zimbabwe, and how these can enable reconciliation to take place. The CSS model demonstrated that citizens wanted reconciliation to be effected through truth-telling, ending political violence, and eliminating structural factors that lead to political violence, tolerance, and the mending of relationships. This article thus reveals the utility of reconciliation that benefits from CSS. Zimbabwe can potentially benefit from civilian input in carrying out a locally initiated and durable reconciliation programme.

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Soyapi, Caiphas B. "Zimbabwe’s ‘Look East’ Policy: A Sociolegal Perspective." Southern African Public Law 30, no. 1 (November 23, 2017): 176–92. http://dx.doi.org/10.25159/2522-6800/3539.

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The studies of the relations between China and Zimbabwe, as with other studies of Chinese relations with African states, have focused largely on the socio-economic and political aspects thereof. There has not been a discussion on the socio-legal perspectives of the relationship. The point of departure is that any relations between China and Zimbabwe must be legally sustainable. The socio-economic consequences of the relations are identified and analysed from a legal perspective, which leads to the conclusion that the ‘look East’ policy adopted by the Zimbabwean government as a way to counter sanctions imposed by the West is an intermestic policy. Based on national and international laws or standards of conduct expected of states, the Zimbabwean government’s failure to protect industries, the environment, labour rights and the trade in armaments at critical moments indicates an abdication of its duties.

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FAIST, THOMAS. "Towards a Political Sociology of Transnationalization. The State of the Art in Migration Research." European Journal of Sociology 45, no. 3 (December 2004): 331–66. http://dx.doi.org/10.1017/s0003975604001481.

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The transnational turn in international migration research since the early 1990s has sparked vigorous debates among migration scholars. Yet the political aspects of transnational migration have been under-studied when compared to social, cultural and economic processes. This is particularly astonishing because the very term transnational suggests the importance of national borders and nationally-bound polities as opportunities and restrictions of exchange, reciprocity, solidarity and hierarchical control for processes involving non-state actors to varying degrees. The goal of this analysis is to take stock of some developments in the general study of transnationalization and treat the aspects of politics, policy and polity as a specific case of this broader conceptual and empirical effort. This effort also identifies questions for further research and offers methodological venues for the study of transnationalism arising out of international migration.

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Sampson, Kristin. "The Art of Politics as Weaving in Plato’s Statesman." Polis: The Journal for Ancient Greek and Roman Political Thought 37, no. 3 (September 1, 2020): 485–500. http://dx.doi.org/10.1163/20512996-12340296.

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Abstract This article asserts the significance of the portrayal of the political art of statesmanship as weaving, and aims to show how this image emphasizes two main aspects of the political art of statesmanship. Firstly, the image implies a three-dimensionality, both through the process of weaving and through the thickness of the protective fabric this produces, that in turn indicates the vital aspect of corporeality in politics. Secondly, weaving as a paradigmatic example of the art of statesmanship presents a way of incorporating different entities and joining diverse threads into a cohesive unity, without reducing them to a form of sameness as mere mathematical counting would. These two aspects are in turn connected to an emphasis on the importance in good statesmanship of recognizing the specificity of the occasion (kairos) and the variety and difference of the innumerable qualities to be interlaced in weaving the fabric of a good society.

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Holden, Gerard. "The state of the art in German IR." Review of International Studies 30, no. 3 (July 2004): 451–58. http://dx.doi.org/10.1017/s0260210504006163.

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Gunther Hellmann, Klaus Dieter Wolf, and Michael Zürn (eds.), Die neuen Internationalen Beziehungen. Forschungsstand und Perspektiven in Deutschland (Baden-Baden: Nomos Verlagsgesellschaft, 2003), pp. 614.The intensification in recent years of interest in the history and sociology of IR (as a discipline) has been manifested in a growing number of publications dealing with aspects of different IR communities. The appearance of a weighty and semi-official volume summarising the state of the art in German IR is therefore a noteworthy development, and one that merits attention beyond the German-speaking world where it will find its main audience. I refer to this volume as ‘semi-official’ because it has been published under the auspices of the Section for International Politics of the German Political Science Association (Deutsche Vereinigung für Politische Wissenschaft, DVPW). The book does not attempt to speak for IR scholars in Austria or Switzerland and so represents a national rather than a linguistic community, though not all the contributors teach at universities in Germany.

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Kovalenko, Timofey V. "Theatrical Life and Socially-Political Climate of Russian Society: Measurement of Evolution Intensity." Key Engineering Materials 437 (May 2010): 560–62. http://dx.doi.org/10.4028/www.scientific.net/kem.437.560.

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Theatrical Life and Socially-Political Climate of Russian Society: Measurement of Evolution Intensity In limits of theoretically-informational approach to the occurrence of culture and art, the intensity of theatrical life is scrutinizing as degree of tension of its dynamics, which flows from quantitative estimation of the cultural public mean’s role, their investment in formation and development of art of its aspects and genres and importance of events in different periods of time. Appearance of various creative innovations in theatrical life is conditioning by the level of its intensity.

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Errouane, Camelia. "Introduction to the Special Issue on Art and Politics." International Journal for History, Culture and Modernity 5, no. 1 (March 28, 2017): 68–73. http://dx.doi.org/10.18352/hcm.509.

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Art and politics are entwined in complex ways. Artworks gain political significance in dynamic networks and social processes that include the artists, the commissioners, their audiences and, not to forget, the historians who study them. This article traces some of the aspects that have defined the relationship between art and politics in Europe since the Enlightenment.

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Saad, Reem Lotfy Mahmoud. "Art and Cultural Identity." Academic Research Community publication 1, no. 1 (September 18, 2017): 10. http://dx.doi.org/10.21625/archive.v1i1.104.

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This paper analyzes aspects of Egyptian history, including unique qualities that influenced the Egyptian culture and gave it its identity that has developed throughout the years until today. It will also discuss Egyptian visual arts and its critical role throughout history, including how arts have appeared and developed over Egypt’s lifetime and influenced the Egyptian citizen. Furthermore, this research sheds light on the effects of every political change that took place in Egypt, and how that could be a mirror of the Egyptian civilization, its development and its decline while considering the role of visual arts throughout and after the revolution of 2011. Analyzing Egyptian culture, education, technology, internet and multimedia after the revolution can be imperative to understand the cultural identity and the role of visual arts in Egypt. Thus the mutual relationship between arts and the Egyptian cultural identity will be questioned, along with the way that they impact each other, and finally, how both of them could play a key role in developing Egypt after the 25th of January, 2011 revolution.

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Harsono, Jusuf. "Hegemoni Negara terhadap Seni Reyog Ponorogo." ARISTO 7, no. 2 (July 1, 2019): 336. http://dx.doi.org/10.24269/ars.v7i2.1773.

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The existence of art Reyog Ponorogo until now it is a traditional art Ponorogo Regency, community pride even in politics is needed by the existence of the political elite, nevertheless the availability of the arts it politically sufficiently interesting to observe in the political dynamics localized in Ponorogo. How the political elite or the state doing my hegemony on all aspects of this art Reyog Ponorogo. This study using several methods to get clarification on the problems on some of them are with the interview, observation, and documentation. The result showed that elite politics or the state has made various ways to Hegemony art Reyog Ponorogo as a mass mobilization of effective local. especially in the dynamics of politics.

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Skov, Marie Arleth. "The 1979 American Punk Art dispute: Visions of punk art between sensationalism, street art and social practice." Punk & Post-Punk 9, no. 3 (November 1, 2020): 443–66. http://dx.doi.org/10.1386/punk_00061_1.

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In May 1979, a conflict arose in Amsterdam: the makers of the exhibition American Punk Art clashed with local artists, who disagreed with how the curators portrayed the punk movement in their promotion of the show. The conflict lays open many of the inherent (self-) contradictory aspects of punk art. It was not merely the ubiquitous ‘hard school vs. art school’ punk dispute, but that the Amsterdam punk group responsible for the letter and the Americans preparing the exhibition had different visions of what punk art was or should be in respect to content and agency. Drawing on interviews with the protagonists themselves and research in their private archives, this article compares those visions, considering topics like institutionalism vs. street art, avantgarde history vs. tabloid contemporality and political vs. apolitical stances. The article shows how the involved protagonists from New York and Amsterdam drew on different art historical backgrounds, each rooted in the 1960s: Pop Art, especially Andy Warhol, played a significant role in New York, whereas the signature poetic-social art of CoBrA and the anarchistic activity of the Provos were influential in Amsterdam. The analysis reflects how punk manifested differently in different cultural spheres, but it also points to a common ground, which might be easier to see from today’s distance of more than forty years.

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FUNDIC, Leonela. "Art and Political Ideology in the State of Epiros during the Reign of Theodore Doukas (r. 1215-1230)." BYZANTINA SYMMEIKTA 23 (February 21, 2014): 217. http://dx.doi.org/10.12681/byzsym.1100.

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The paper sets out to reconstruct the political context of art-making in the State of Epiros under its second ruler Theodore Komnenos Doukas (r. 1215-1230), paying particular attention to two aspects: first, the ways in which art reflected and articulated political ideology; and second, the role played by works of art in the formation of a Byzantine imperial identity in exile.

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Mutasa, D. E., and W. L. Chigidi. "Black writers’ Shona novels of the liberation war in Zimbabwe: an art that tells the truth of its day." Literator 31, no. 2 (July 13, 2010): 61–82. http://dx.doi.org/10.4102/lit.v31i2.47.

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Over the years Shona fiction that portrays Zimbabwe’s liberation war has been a subject of severe criticism because of its tendency to falsify and distort history. This article attempts to provide answers to the question of why authors of Shona war fiction tended to romanticise the war of liberation. In pursuance of this objective this article looks at circumstances and conditions that prevailed at the time that most of the Shona stories about Zimbabwe’s liberation war were written. These stories were published during the first decade of Zimbabwe’s independence and it is possible to look at this time and come up with a set of interdependent cultural, economic, political and ideological conditions that helped to shape writers’ perspectives on the war. The article argues that the conditions of artistic freedom that interfaced with internalised fear, the euphoria and celebration, the dominant ideology of the time, as well as the situation of competition were responsible for shaping the consciousness of the war fiction writers. In this article views expressed in interviews by some of the writers of Shona war fiction are taken into consideration. All interviews with authors referred to in the article were carried out by the researcher.

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Fyfe, Gordon J. "Art and reproduction: some aspects of the relations between painters and engravers in London 1760-1850." Media, Culture & Society 7, no. 4 (October 1985): 399–425. http://dx.doi.org/10.1177/016344385007004002.

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Šopák, Pavel. "Between East and West: Karel Chytil as Museologist, Educator, and Art Historian." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 129–38. http://dx.doi.org/10.46284/mkd.2020.8.3.7.

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Adapted version of the text presented at the colloquium organised in Prague on 12 November 2019 by the Institute of Art History of the Czech Academy of Sciences (CAS) on the 85th anniversary of PhDr. Karel Chytil’s death. The text deals with the institutional and cultural political aspects of Chytil’s career as an art historian, museologist, and lecturer.

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Di Summa-Knoop, Laura T. "Art Today and Philosophical Aesthetics." Culture and Dialogue 4, no. 2 (October 26, 2016): 246–62. http://dx.doi.org/10.1163/24683949-12340014.

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The demise of grand narratives of art, and the emergence of “post-historical art,” have produced a chasm between the tradition of philosophical aesthetics and the production and reception of contemporary art, a divide that has deprived philosophy of the fundamental role it had played, arguably, until the end of the Modern period. The goal of this paper, which focuses primarily on art after 2000, is to investigate possible venues and directions in the current production and reception of art that might lead to a reconciliation of these two poles and to the advancement of new philosophical strategies for the analysis of art. Specifically, I will concentrate on three aspects of the experience of art today: first, the emphasis, in the production and reception of artworks, on enactive accounts of artistic experience; secondly, the importance given to the ethical content of artworks and to their ability to trigger ethical, social, and political reflection; and, lastly, the growing role of the art market and its structures in the overall appreciation of the arts.

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Ncube, Farai, and Olabanji Oni. "ORGANIZING CHALLENGES FACED BY TRADE UNIONS IN THE HOSPITALITY INDUSTRY OF ZIMBABWE." EURASIAN JOURNAL OF BUSINESS AND MANAGEMENT 8, no. 3 (2020): 167–81. http://dx.doi.org/10.15604/ejbm.2020.08.03.001.

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Globally there are a lot of developments and changes happening in the tourism industry affecting the traditional business operations and with a serious effect on employment relations patterns. Trade unions have been at the receiving end owing to these changes. New forms of employment coupled with other changes have adversely affected the ability of trade unions to effectively organize. While union strength is measured by a number of aspects, membership remains the main indicator of union power. In this article, we examine the organizing challenges faced by the Trade Unions in the Hospitality Industry of Zimbabwe. We employ a qualitative study utilizing a sample of 80 respondents drawn from union officials (10), shop stewards (40) and management representatives (30). The study reveals that the unions face a myriad of challenges ranging from lack of resources to effectively organize and support all initiatives in place, political persecution affecting member perceptions, lack of management support, destroying all union efforts as well as changing demographics and employment conditions among other challenges. We maintain that the survival of a trade union depends primarily on its ability to organize workers. We advance the argument that the industry is not immune to the developments and changes happening in the contemporary world of work and for unions to survive they have to co-evolve. We conclude that the identified challenges can actually be opportunities for the trade unions.

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Nežinská, Emma. "Voices from altarpieces: Making sense of the sacred." Human Affairs 28, no. 1 (January 26, 2018): 88–97. http://dx.doi.org/10.1515/humaff-2018-0008.

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Abstract The article is a cultural-philosophical response to Ivan Gerát’s Legendary Scenes and his art history interpretation of the function of Slovak hagiographic pictorial art of the Late Middle Ages. The thrust is on paintings of Christian ethical extremism, reflected in the principle of imitatio Christi. It led to the deaths of martyrs and saints in the name of the Faith. The preponderance of brutal scenes involving the tortured human body in this period art is examined in detail and it is suggested that these portrayals are disincentives that put off the mass culture beholder. The contextualist art history method employed in Gerát’s book is gradually explored, along with its potential to transform the uninterested postmodern beholder into an intelligent beholder and art tourist. Attention is paid to the educational and national branding aspects of Legendary Scenes.

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Pirozhkova, Sophia. "PHILOSOPHY AS ELEMENT OF RUSSIAN SCIENTIFIC SYSTEM: HISTORICAL ASPECTS OF PROBLEM." Studia Humanitatis 17, no. 4 (December 2020): 4–14. http://dx.doi.org/10.15393/j12.art.2020.3661.

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The article offers a rational reconstruction of the history of the development of Russian philosophy as a scientific discipline. The relevance of this reconstruction is due to the need for a new self-determination of philosophy in the structure of scientific knowledge. This need is caused, on the one hand, by the world-wide transformations of science as a cognitive, social and cultural phenomenon, on the other hand, by the fact that Russian science is undergoing a period of reforms that pose urgent questions for Russian philosophy to fix its features, functions and tasks as a scientific discipline in new conditions. The article shows that philosophy appears in Russia as part of an integral system of rational knowledge, or rather as part of a kind of socio-cultural project of such system. This system inherits the Ch. Wolff’ project. It is characterized by the absence not only of the modern differentiation of sciences, but also of the later opposition between philosophy and science. In a short time by historical standards, the emancipation of natural science disciplines begins, seeking to privatize the status of scientific knowledge. However, since the beginning of the XIX century, it is not self-determination in opposition of science acquiring its modern face, but the socio-political context that determines the fate of Russian philosophy, setting various forms of its institutionalization. This dependence persists in the twentieth century, when the role in the Soviet socialist project returns philosophy to the central place in the structure of scientific knowledge, as it was in the Wolff’ system, while discrediting it as a scientific activity. It is proved that since the end of the 1950s, Russian philosophy has begun to partially rebuild itself as a scientific discipline, creating prerequisites for the retention of academic and university philosophy after the collapse of soviet ideology.

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Lehmann, Olga V., and Svend Brinkmann. "Revisiting “The Art of Being Fragile”: Why cultural psychology needs literature and poetry." Culture & Psychology 26, no. 3 (July 9, 2019): 417–33. http://dx.doi.org/10.1177/1354067x19862183.

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Writers devote their lives to find words that faithfully resemble what is at the core of human experience and existence. Thus, psychologists interested in understanding human development in everyday life could turn toward writers and poets with humble curiosity. In this article, we illustrate how a narrative analysis of a work of art can be done, taking “ The Art of Being Fragile. How Leopardi can Save your Life” by the Italian writer and teacher Alessandro D’Avenia as a case. In addition, we reflect upon the mastery with which the author sheds light on aspects that theories in cultural psychology have tried to unveil. Such aspects are: (a) poetic activism: a revolution of the poetics of everyday life; (b) the poetics of human development; (c) the beauty within the fragile as a master; and (d) the intuition of the spirit as an invitation.

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Skaife, Sally E., and Kevin Jones. "The art therapy large group as a teaching method for the institutional and political aspects of professional training." Learning in Health and Social Care 8, no. 3 (September 2009): 200–209. http://dx.doi.org/10.1111/j.1473-6861.2008.00211.x.

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Magliveras, Konstantinos D., and Gino J. Naldi. "When Politics Prevail Over the Rule of Law: The Demise of the sadc Tribunal." International Human Rights Law Review 10, no. 1 (May 31, 2021): 124–54. http://dx.doi.org/10.1163/22131035-01001001.

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Abstract The article questions whether the Tribunal of the Southern Africa Development Community (sadc) ought to have entertained human rights cases given that the sadc Treaty does not endow it with such jurisdiction. It then analyses its demise in 2010, which was prompted by several rulings against Zimbabwe, whose policy of expropriating land without compensation was held to violate human rights. The pertinent aspects of these cases are reviewed, and the significance of Zimbabwe’s land reform programme is explained. The article elucidates why sadc leaders were prepared to suspend the Tribunal’s operation. This was a combination of alarm that it could evolve into a quasi-regional human rights court but also solidarity with the then President Mugabe, a hero of Africa’s liberation struggle. Finally, the pronouncements of the Constitutional Court of South Africa and the High Court of Tanzania on the lawfulness of the sadc Tribunal’s suspension are considered.

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Rubin, Joshua D. "Assembling emergence: making art and selling gas in Bulawayo." Africa 89, no. 3 (July 16, 2019): 479–98. http://dx.doi.org/10.1017/s0001972019000482.

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AbstractThis article is an ethnographic investigation of the labours of making art and selling liquid petroleum gas (LPG) in Bulawayo, Zimbabwe. It locates these activities within a shared social world, centred on one of Bulawayo's major art galleries, and it demonstrates that artists and LPG dealers use similar strategies to respond to the political conditions of life in the city. This article frames these conditions as unpredictable, insofar as they change frequently and crystallize in unexpected forms, and it argues that both groups are attempting to act within these conditions and shape them into emergent assemblages. In adopting this term ‘assemblage’, which has been elaborated theoretically by Gilles Deleuze, Félix Guattari and their many interlocutors, this article emphasizes both the mutability and the unpredictability of these formations. The artists who work in the gallery, for their part, make their art by assembling their chosen media. The processes by which they choose their media constitute assemblages as well, in that artists have to adapt their artistic visions to the materials that Zimbabwe's market can provide. Street dealers in gas also produce emergent assemblages against the backdrop of unpredictability. If they want to make natural gas available to consumers, dealers must shepherd their medium through an always emergent process of distribution. They participate in transnational networks of trade, but they also theorize innovative strategies of procurement, develop circuits of trust and loyalty, and conjure up visions of a predatory state. Like artists, they use their work to construct dynamic representations of the world around them. Artists may produce images, and dealers circulate gas, but this article shows that conceptualizing these practices in terms of ‘assemblages’ calls their commonalities into view. In doing so, it also demonstrates that these practices complicate easy distinctions between aesthetics, economics and politics.

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Dr. Natik Fahal Al- Kubaisy, Dr. Mohamed Abbas Mohamed, Dr Sufyan Saeb Salman,. "“POLITICAL AND PSYCHOLOGICAL CULTURE AND ITS RELATIONSHIP TO UNIVERSITY INTEGRATION AMONG STUDENTS OF THE FACULTY OF POLITICAL SCIENCES”." Psychology and Education Journal 58, no. 1 (January 15, 2021): 5146–51. http://dx.doi.org/10.17762/pae.v58i1.2071.

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Culture is one of the requirements of the daily life of the individual in any society, whether it is advanced or simple, and the concept of culture has many aspects, including what education is a culture and there are those who claim that art is a culture, and there are those who classify it according to human societies. And some go to it. It is not related to study and learning. Iraq was a symbol of Arab culture, but it retreated due to the political and social crises it went through in its modern history, and the current research aims to study political and psychological culture and its relationship to university integration among students of the Faculty of Political Science.

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Patsiaouras, Georgios, Anastasia Veneti, and William Green. "Marketing, art and voices of dissent." Marketing Theory 18, no. 1 (August 14, 2017): 75–100. http://dx.doi.org/10.1177/1470593117724609.

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Limited research exists around the interrelationships between protest camps and marketing practices. In this article, we focus on the 2014 Hong Kong protest camps as a context where artistic work was innovatively developed and imaginatively promoted to draw global attention. Collecting and analysing empirical data from the Umbrella Movement, our findings explore the interrelationships between arts marketing technologies and the creativity and artistic expression of the protest camps so as to inform, update and rethink arts marketing theory itself. We discuss how protesters used public space to employ inventive methods of audience engagement, participation and co-creation of artwork, together with media art projects which aimed not only to promote their collective aims but also to educate and inform citizens. While some studies have already examined the function of arts marketing beyond traditional and established artistic institutions, our findings offer novel insights into the promotional techniques of protest art within the occupied space of a social movement. Finally, we suggest avenues for future research around the artwork of social movements that could highlight creative and political aspects of (arts) marketing theory.

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Gwekwerere, Tavengwa, Davie E. Mutasa, and Kudakwashe Chitofiri. "Settlers, Rhodesians, and Supremacists: White Authors and the Fast Track Land Reform Program in Post-2000 Zimbabwe." Journal of Black Studies 49, no. 1 (November 3, 2017): 3–28. http://dx.doi.org/10.1177/0021934717739400.

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Texts written by some white Zimbabweans in the post-2000 dispensation are largely shaped by their authors’ endeavor to contest the loss of lands they held prior to the onset of the Fast Track Land Reform Program (FTLRP). Written as memoirs, these texts are bound by the tendency to fall back on colonial settler values, Rhodesian identities, and Hegelian supremacist ideas in their narration of aspects of a conflict in which tropes such as truth, justice, patriotism, and belonging were not only evoked but also reframed. This article explores manifestations of this tendency in Eric Harrison’s Jambanja (2006) and Jim Barker’s Paradise Plundered: The Story of a Zimbabwean Farm (2007). The discussion unfolds against the backdrop of the realization that much of the literary-critical scholarship on land reform in post-2000 Zimbabwe focuses on texts written by black Zimbabweans and does not attend to the panoply of ways in which some white-authored texts yearn for colonial structures of power and privilege. This article evinces that the reincarnation of colonial settler values, Rhodesian identities, and Hegelian supremacist ideas undermines the discourse of white entitlement more than it promotes it. Values and identities of the colonial yesteryear on which this discourse is premised are not only anachronistic in the 21st century; they also obey the self-other binary at the heart of the patriotic history pedestal that was instrumental in the Zimbabwean regime’s post-2000 populist deployment of the land grievance to reconstruct itself as the only and indispensable champion of African interests in Zimbabwe.

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Stankowska, Agata. "O sztuce „nieczystej”, różnie rozumianych obrazach i konkurencyjnych modelach ich interpretacji." Poznańskie Studia Polonistyczne. Seria Literacka, no. 30 (September 28, 2017): 29–54. http://dx.doi.org/10.14746/pspsl.2017.30.2.

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The paper is devoted to the chosen aspects of varied models of defining the image and research practices created by the contemporary art studies – Visual Culture Studies, anthropologically oriented Bildwissenschaft and the French pictorial semiology. What they all have in common is interdisciplinarity that constitutes a response to the „impurity” of art, trespassing its own borders, being autocritical and exposing not only the artistic, but also political, religious, existential and biological status of the image.

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Chereni, Admire. "Within the Borders but Not Really in South Africa." African Diaspora 10, no. 1-2 (September 20, 2018): 117–38. http://dx.doi.org/10.1163/18725465-01001007.

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Abstract This article explores the relationship between economic and social aspects of differential inclusion in South Africa as well as migrants’ notions and practices of home and belonging. It is based on narratives provided by Zimbabweans in Johannesburg, and considers what this relationship might imply for how we understand circular migration. It finds that, differential inclusion – emanating from migrants’ experiences of deportability, insecure residence, marginal economic practices, uncertain futurity and temporal disruptions, that punctuated their post-arrival everyday life – shapes migrants’ perceptions of home as a concrete site left behind to which migrants strive to return. Conversely, negative evaluations of livelihood opportunities in Zimbabwe fuel an orientation towards an imminent yet continually deferred eventual return.

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Takavarasha, Sam, and John Makumbe. "The Effect of Politics on ICT4D." International Journal of E-Politics 3, no. 3 (July 2012): 40–60. http://dx.doi.org/10.4018/jep.2012070103.

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Zimbabwe is the best contemporary example of how politics can affect economic development. Equally as significant, and yet under studied, is the effect of politics on Information and Communication Technologies for development (ICT4D). In this case study of government of Zimbabwe’s five year battle to prevent Econet Wireless from operating a mobile phone network, the authors present the fear for the conviviality of ICTs as a reason why dictatorial states often restrict free use of ICTs and how this can inhibit its role in fostering development. Using a combination of aspects of Thomas Hobbes’ political theory and Sen’s capability approach the authors show how passions like fear for the power of ICTs in private hands and the appetite for proceeds from the telecoms sector fuelled a five year legal battle that was eventually won by Econet. A framework for assessing the motives behind restrictive political action and the concomitant erosion of political freedoms which inhibits free ICT use and investment in the sector is also presented.

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Setter, Jane, and Jennifer Jenkins. "State-of-the-Art Review Article." Language Teaching 38, no. 1 (January 2005): 1–17. http://dx.doi.org/10.1017/s026144480500251x.

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This article is organised in five main sections. It begins by outlining the scope of pronunciation teaching and the role of pronunciation in our personal and social lives. The second section surveys the background to pronunciation teaching from its origins in the early twentieth century to the present day, and includes a discussion of pronunciation models and of the role of the first language (L1) in the acquisition of second language (L2) pronunciation. Then a third section explores recent research into a range of aspects involved in the process: the effects of L1 and L2 similarities and differences; the role of intelligibility, accent attitudes, identity and motivation; the part played by listening; and the place of pronunciation within discourse. This section concludes with a discussion of a number of controversies that have arisen from recent pronunciation research and of research into the potential for using computer-based technology in pronunciation teaching. The fourth section explores a range of socio-political issues that affect pronunciation teaching when the L2 is learnt as an international rather than a foreign language, and the fifth section moves on to consider the implications of all this for teaching.

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Yankovskaya, Galina. "The Economic Dimensions of Art in the Stalinist Era: Artists' Cooperatives in the Grip of Ideology and the Plan." Slavic Review 65, no. 4 (2006): 769–91. http://dx.doi.org/10.2307/4148454.

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In this essay Galina Yankovskaya explores the economic aspects of Soviet artistic life, which were often as important as political factors or censorship in determining the formal features and content of art production. Yankovskaya considers a complex of multisided trends: Russian artists' egalitarian imagination, the expectations of a new art audience, and the authorities' intentions. Exploring the confusing history of art institutions (mostly Vsekokhudozhnik, but also the Union of Artists and the Artistic Fund) within the everyday routines of the Soviet planned economy enables Yankovskaya to examine the clash of economic, ideological, and political motives in Stalinist culture and to look at how artists escaped from official ideology or exploited it for their own goals of appearing “busy.” Certain specific practices from this system of art production and distribution, such as the state's financial support as well as regulation of the art market, copyright law, and the mass production of handmade copies, survived into the post-Stalinist period.

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Darasz, Zdzisław. "Plakat polityczny w chorwackiej ikonosferze." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 283–89. http://dx.doi.org/10.14746/pss.2020.18.17.

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The titular problem of Croatian political poster, regarded as an art of margins, is treated by the author, according to the order of chapters, in four main aspects: historical, aesthetic, socio-political, and cultural one. The development of poster art, correlated with national history in 19th and 20th century Croatia, is presented in the chapter “In the vapour of history”. In the next chapters some particular sections of the searching field are described. These sections are as follows: technique of montage of the pictures, modern iconoclastic practices, chaos vs. order, and the place (“From margin to centre”).

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Edwards, Gareth. "From the Black Square to the Red Square: Rebel leadership constructed as process through a narrative on art." Leadership 13, no. 1 (July 31, 2016): 100–119. http://dx.doi.org/10.1177/1742715015626242.

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The contribution this paper makes to leadership studies is to advance leadership theory towards a process based perspective based on an appreciation of art. The article does this by using a narrative on art in Russia. The narrative forms the basis for discussing the role that symbolism and aesthetics play in (re)interpreting rebel leadership. The article also explores James Downton’s work alongside the narration to develop a socially constructed process based interpretation of rebel leadership. Building on this interpretation fundamental aspects of process-based leadership so far missing from the literature are highlighted. One such aspect is the ridicule (in this case through caricature) of existing leaders and leadership by the incumbent leader and/or leadership process – a pre-stage to the emergence of rebel leadership. Other aspects include stages of social and organizational liminality and introspection. From here suggestions are made for further theoretical and empirical enquiry and practical implications are highlighted.

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Gordon, Robert Edward. "The Philosophy of Freedom and the History of Art: An Interdisciplinary View." Philosophies 5, no. 3 (September 1, 2020): 18. http://dx.doi.org/10.3390/philosophies5030018.

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This article investigates the relationship between the philosophy of freedom and the history of art. It maintains that contemplating the two fields together is productive and necessary in understanding some of the compelling interdisciplinary aspects at work in both arenas. Isaiah Berlin’s seminal Two Concepts of Liberty (1958) acts as a touchstone, as the essay establishes the historical and political grounds for uniting the two fields, with other thinkers contributing to the analysis. The ideas discussed correlate the history of art as a narrative of creativity and freedom with art’s political function as it pertains to the positive–negative liberty perspective. These two forces offer a fecund way of thinking about freedom and the arts co-terminally. This essay argues that the creative motivations embedded in the history of art are intimately linked to political motivations, which it is claimed tie the two subjects together both historically and philosophically.

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Lachman, Michal. "States of mind – political theatre at the age of nomadism." Open Cultural Studies 3, no. 1 (January 1, 2019): 531–38. http://dx.doi.org/10.1515/culture-2019-0046.

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Abstract The review article comments on major themes and ideas analysed by S.E. Wilmer’s Performing Statelessness in Europe (Palgrave 2018). Wilmer’s analysis offers an overview of most recent as well as historical approaches to the concept of citizenship and the state which have been developed by avant-garde artists and theatre makers. The overall aim of Wilmer’s survey of political art is to “assess strategies by creative artists to address matters relating to social justice”. He also gives a significant amount of attention to various projects carried by German theatres which attempt to integrate resident immigrants into German society. The central thrust of his argument falls on a variety of contemporary theatrical initiatives directly concerned with the life of refugees and asylum seekers. The review highlights those aspects of Wilmer’s argument which directly concern the concept of modern society, nation state and identity. Wilmer shows precisely these aspects of modern state as most destructive. The review questions that assumption, arguing that the criticism of modern society should be more subtle and nuanced and that the potential failure of responding properly to the crisis does not necessarily lie entirely on the side of the state

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Thomas, Sandy. "Paradoxes and Political Problems: The U.S. Approach to ART as Seen from the U.K." Hastings Center Report 34, no. 4 (July 2004): 15. http://dx.doi.org/10.2307/3528687.

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Goetschel, Willi. "Review: Simmel-Handbuch: Begriffe, Hauptwerke, Aktualität." Theory, Culture & Society 37, no. 7-8 (October 27, 2020): 431–34. http://dx.doi.org/10.1177/0263276420958449.

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The Simmel companion Simmel-Handbuch is a book that offers a solid overview of Simmel’s works with numerous articles addressing specific aspects of his thought. The volume includes informative discussions of the overarching themes as well. Its scholarship is exhaustive and reflects the state of the art of German Simmel scholarship.

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Journal articles on the topic 'Art – Political aspects – Zimbabwe'

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