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Journal articles on the topic 'Clement Greenberg in Canada'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Butkus, Vitor. "Clement Greenberg pelo avesso." Revista Digital do LAV 4, no. 4 (October 25, 2010): 084. http://dx.doi.org/10.5902/198373482203.

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Este artigo é o resultado de um esforço reflexivo tendo como tema o crítico de arte norte-americano Clement Greenberg, sua obra e sua atuação no campo das artes. Esse autor de posições teóricas polêmicas é, aqui, analisado pelo seu antes e pelo seu depois. O contexto cultural em que se produziu a sua escrita é visado, não como causa, mas como fornecedor de problemas teóricos aos quais a crítica greenberguiana responderá. Apontando esse rumor teórico, contemporâneo à atividade do autor, e atravessado por questões extra-artísticas, propomos um distanciamento crítico através do qual se busca a compreensão dos principais textos de Greenberg. A plataforma analítica estabelecida pela contextualização histórica também é experimentada em um breve levantamento do legado desses textos, observando-se como as reações ao formalismo ainda reverberam na contemporaneidade.Palavras-chave : teoria da arte, crítica de arte, integração teórico-prática, Clement Greenberg

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2

Weaver, Mike. "Clement Greenberg and Walker Evans." History of Photography 15, no. 2 (June 1991): 128–30. http://dx.doi.org/10.1080/03087298.1991.10443146.

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3

Olitski, Jules. "Clement Greenberg in My Studio." American Art 8, no. 3/4 (July 1994): 125–29. http://dx.doi.org/10.1086/424227.

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4

Jachec, N. "Modernism, Enlightenment Values, and Clement Greenberg." Oxford Art Journal 21, no. 2 (January 1, 1998): 121–32. http://dx.doi.org/10.1093/oxartj/21.2.121.

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5

Hill, Michael. "Leo Steinberg vs Clement Greenberg, 1952–72." Australian and New Zealand Journal of Art 14, no. 1 (January 2, 2014): 21–29. http://dx.doi.org/10.1080/14434318.2014.930373.

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6

Hall, James. "Clement Greenberg on English Sculpture and Englishness." Sculpture Journal 4, no. 1 (January 1, 2000): 172–77. http://dx.doi.org/10.3828/sj.2000.4.1.16.

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7

Baigell, Matthew. "Clement Greenberg, Harold Rosenberg, and Their Jewish Issues." Prospects 30 (October 2005): 651–64. http://dx.doi.org/10.1017/s0361233300002210.

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Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.

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8

Craven, David. "Clement Greenberg and the ‘triumph’ of Western art." Third Text 7, no. 25 (December 1993): 3–9. http://dx.doi.org/10.1080/09528829308576447.

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9

Rauschenberg, Nicholas. "Variaciones Greenberg: apogeo y debacle de un crítico de arte." Trans/Form/Ação 42, no. 3 (September 2019): 119–42. http://dx.doi.org/10.1590/0101-3173.2019.v42n3.07.p119.

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Resumen: Partiendo del texto clásico Vanguardia y kitsch, nos proponemos analizar la obra del crítico norteamericano Clement Greenberg. Después de la intervención del Estado norteamericano en el arte entre 1935 y 1943 (los WTA), Clement Greenberg surge como uno de los principales críticos que buscaron unificar el “arte elevado” de ese país. Para tanto, el crítico norteamericano busca justificar el nivel artístico de esa vanguardia acercando esa producción a las vanguardias europeas, especialmente el cubismo. Veremos los problemas de Greenberg al forjar una “historicidad inmanente” a las obras de arte para justificar una posible convergencia de las vanguardias europeas en el nuevo contexto de la vanguardia norteamericana: el “expresionismo abstracto”. Greenberg, con ayuda del MoMA y del Estado norteamericano buscó fomentar una “pintura a la americana”, una vanguardia conocida como escuela de Nueva York. Buscamos analizar el contexto en que se forjó esa tendencia artificiosamente unificada y cómo el pop art emerge como una crítica performática de ese contexto. Más que vanagloriarse de sus métodos técnicos, el pop art busca subvertir el contexto de recepción del arte que hasta entonces era expectante del “arte serio y elevado” defendido por Greenberg.

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10

Süssekind, Pedro. "Greenberg, Danto e O Fim da Arte." Kriterion: Revista de Filosofia 55, no. 129 (June 2014): 349–62. http://dx.doi.org/10.1590/s0100-512x2014000100019.

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Este estudo discute a questão do fim da arte com base nas reflexões críticas de Clement Greenberg e na posterior apropriação dessas reflexões por Arthur Danto. Em primeiro lugar, pretendo mostrar como a visão negativa de Greenberg acerca da arte produzida a partir dos anos 1960 implica o tema do fim da arte. Em segundo, pretendo expor a tarefa assumida por Danto a partir de sua avaliação dos diagnósticos e da teoria de Greenberg.

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11

Anfam, David. "The Collected Essays and Criticism. Clement Greenberg , John O'Brian." Archives of American Art Journal 36, no. 2 (January 1996): 19–23. http://dx.doi.org/10.1086/aaa.36.2.1557859.

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12

Staten, Henry. "Clement Greenberg, Radical Painting, and the Logic of Modernism." Angelaki 7, no. 1 (April 2002): 73–89. http://dx.doi.org/10.1080/09697250220142065.

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13

Routt, William D. "Making looking public: Clement Greenberg imagines the kitsch public1." Continuum 11, no. 3 (January 1997): 47–58. http://dx.doi.org/10.1080/10304319709359452.

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14

Powell, Amy Knight. "A Short History of the Picture as Box." Representations 141, no. 1 (2018): 95–130. http://dx.doi.org/10.1525/rep.2018.141.1.95.

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In “The Crisis of the Easel Picture” (1948), Clement Greenberg compares the easel picture, disparagingly, to a box-like cavity cut into the wall. In this essay, I argue that late medieval panel paintings—which indeed often took the form of boxes—show Greenberg to be justified in making this comparison, if not in doing so disparagingly. But what Greenberg failed to fully acknowledge is that the easel picture had already long tried to escape this condition through the opening of the metaphor of the window. Failing to recognize this earlier effort to escape the material conditions of the box, many modernists and postmodernists, like Greenberg, attempting to move beyond the easel picture in the name of an art undivided from life, have unintentionally upheld the easel picture’s own escapist ideology.

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15

Albera, François. "Clement Greenberg, Écrits choisis des années 1940 – Art et culture." 1895, no. 84 (April 1, 2018): 218–21. http://dx.doi.org/10.4000/1895.6227.

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16

Foscolo, Guilherme. "Greenberg, Danto e a crítica: problemas de um triângulo." Viso: Cadernos de estética aplicada 2, no. 4 (June 1, 2008): 84–94. http://dx.doi.org/10.22409/1981-4062/v4i/59.

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que é a arte? Se elegemos critérios que nos permitem distinguir obras boas de obras ruins, até que ponto estes critérios são objetivos? Até que ponto é possível, portanto, o exercício objetivo da crítica? O presente artigo pretende ser uma reflexão, mediante a fricção dos pensamentos de Clement Greenberg e Arthur Danto, acerca de dois problemas fundamentais para a filosofia da arte: o problema da definição (o que é arte?) e o problema do julgamento (ou da crítica).

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17

Junqueira, Fátima. "Between Abstraction and Realism: Painting on the edge." ARS (São Paulo) 13, no. 26 (December 22, 2015): 130. http://dx.doi.org/10.11606/issn.2178-0447.ars.2015.106082.

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Este texto pretende fazer uma reflexão sobre a pintura contemporânea, que se destaca por ficar no limite entre dois conceitos clássicos da arte moderna: “figurativo” e “abstrato”. O artigo baseia-se em autores da teoria da arte moderna (como Clement Greenberg e Leo Steinberg) da filosofia (como Jacques Rancière), da teoria da arte contemporânea (como Anne Cauquelin) e nos escritos do pintor alemão Gerhard Richter.

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18

Palin, Tom. "The context of medium specificity: From Riegl to Greenberg." Journal of Contemporary Painting 5, no. 2 (October 1, 2019): 253–72. http://dx.doi.org/10.1386/jcp_00003_1.

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By the mid-1960s the notion of medium specificity had come to define that which was most insular and protectionist about painting, with the idea of medium specificity entirely synonymous with the formalist criticism of Clement Greenberg. As such, the richness of the term, and its historical situatedness, was lost behind a particular defence of the virtues of modernist painting. This article attempts to draw out the history and nuances of medium specificity: to trace its development within an extended body of speculation ‐ commonly termed formalist ‐ in order to re-open a discussion, too often sidestepped within contemporary discourse, as to the relationship that exists between the work of art and that which the work of art can claim to bear witness to.

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Gonçalves, Rosa Gabriella De Castro. "O cubismo como método." ARS (São Paulo) 15, no. 29 (April 30, 2017): 78. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.122361.

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Este artigo busca discutir a relevância do Cubismo para a concepção de Modernismo elaborada pelo crítico de arte norte-americano Clement Greenberg a partir da análise de ensaios e textos críticos publicados por ele ao longo de mais de três décadas, nos quais transparece a identificação da unidade do plano pictórico – entendida pelo crítico como uma das características mais essenciais da pintura moderna, ao lado da planaridade – com o pensamento plástico cubista.

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20

HART, P. "The Essential Legacy of Clement Greenberg from the Era of Stalin and Hitler." Oxford Art Journal 11, no. 1 (January 1, 1988): 76–87. http://dx.doi.org/10.1093/oxartj/11.1.76.

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21

Sokol, David M. "Art Czar: The Rise and Fall of Clement Greenberg by Alice Goldfarb Marquis." Journal of American Culture 30, no. 1 (February 23, 2007): 115–16. http://dx.doi.org/10.1111/j.1542-734x.2007.00471.x.

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22

WALKER, JOHN A. "ART CZAR: THE RISE AND FALL OF CLEMENT GREENBERG BY ALICE GOLDFARB MARQUIS." Art Book 14, no. 2 (May 2007): 50–52. http://dx.doi.org/10.1111/j.1467-8357.2007.00813.x.

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23

Clarke, David. "The All-Over Image: Meaning in Abstract Art." Journal of American Studies 27, no. 3 (December 1993): 355–75. http://dx.doi.org/10.1017/s0021875800032072.

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It is the contention of Clement Greenberg that the development of modern painting can be seen as a self-critical process whereby this art entrenches itself more firmly in its area of competence. The area of competence of each art, according to Greenberg, coincides with all that is unique to the nature of its medium. Each art form, then, has an essence (albeit one which is only revealed over time) and the constitutive limitations peculiar to painting are considered by Greenberg to be “the shape of the support, the properties of pigment” and above all “the flat surface.” At first sight such a formalist perspective appears to have the advantage of being able to offer an overall picture of the development of modern painting, a unified narrative leading from Manet to American abstract artists of Greenberg's own time, such as Jules Olitski. I shall be arguing here, however, that a clear gestalt is provided by Greenberg's theory only at the cost of eliminating consideration of meaning in art. My point is not that Greenberg gives too much attention to form and not enough to content, and that therefore we merely need to balance the scales. Simply to supplement Greenberg's discussion of the formal aspects of artworks with a consideration of their content would be to accept implicitly the strong division between these two aspects which he makes. It is that very separation which I am contesting: I do not believe that it is possible to make worthwhile statements about form whilst considering it, as Greenberg does, in a vacuum.

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24

Gardner, Colin. "Barnett Newman's Zip as Figure." Deleuze Studies 6, no. 1 (February 2012): 42–54. http://dx.doi.org/10.3366/dls.2012.0045.

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Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a precise sensation.

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25

Greenberg, Clement. "Hacia un nuevo Laocoonte." Co-herencia 17, no. 33 (October 30, 2020): 19–39. http://dx.doi.org/10.17230/co-herencia.17.33.1.

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El modernismo es una teoría de la relación del arte con su medio, y en ningún lugar se ve esto más claro que en el pensamiento de Clement Greenberg (1909-1994). Greenberg fue probablemente el crítico de arte más influyente del siglo xx, uno de los responsables del reconocimiento del impresionismo abstracto y de la pintura de campos de color, así como del desplazamiento del centro del mundo del arte desde París a Nueva York. Su práctica como crítico de arte estaba, además, fundada en una ambiciosa teoría del modernismo artístico y, en particular, pictórico. “Towards a Newer Laocoön”, aparecido originalmente en 1940 y que se publica aquí por primera vez en español, forma parte del puñado de ensayos imprescindibles para comprender su pensamiento estético (la lista incluye “Vanguardia y kitsch” [1939], “Pintura modernista” [1962] y, quizá, el “Seminario 1” [1973] y el “Seminario 6” [1976]).

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26

GÜNGEN, Zafer. "CLEMENT GREENBERG BİÇİMCİLİĞİ BAĞLAMINDA AMERİKAN SOYUT SANAT HAREKETİNİN SOĞUK SAVAŞ DÖNEMİ POLİTİKALARI İLE İLİŞKİSİ." Journal of Academic Social Sciences 92, no. 92 (January 1, 2019): 84–97. http://dx.doi.org/10.16992/asos.14958.

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27

Eyck, Toby A. Ten, and Lawrence Busch. "Justifying the Art Critique: Clement Greenberg, Michael Kimmelman, and Orders of Worth in Art Criticism." Cultural Sociology 6, no. 2 (May 9, 2012): 217–31. http://dx.doi.org/10.1177/1749975512440228.

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28

Díaz Soto, David. "Stanley Cavell y el debate sobre la "nueva música" : razones y sinrazones de un desencuentro." Brocar. Cuadernos de Investigación Histórica, no. 36 (June 21, 2012): 285–311. http://dx.doi.org/10.18172/brocar.1572.

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Examinaremos las críticas dirigidas por el filósofo Stanley Cavell (hoy más conocido como teórico del cine), en algunos de sus textos tempranos, contra ciertas prácticas de la vanguardia musical de los años 60. Situaremos dichas críticas en el contexto de la teoría cavelliana de la modernidad, del acto crea - tivo y de los “medios” artísticos, de la cual se sigue una peculiar concepción “dramática” del medio musical. Cavell dice suscribir una posición “modernista” en relación con el arte reciente, inspirándose en Clement Greenberg, el gran teó - rico del modernismo tardío; no obstante, señalaremos aspectos importantes en los que la posición de Cavell discrepa de la de un formalista como era Greenberg. Pondremos así de relieve el carácter “eticista” de la posición de Cavell en materia de estética y teoría del arte; entendiendo por “eticismo” aquella posición que, sin necesariamente renunciar por ello a la tesis de la autonomía del arte, sostiene la relevancia de consideraciones éticas y morales en el juicio sobre fenómenos y prácticas artísticas. Terminaremos valorando la vigencia actual del discurso de Cavell sobre música.

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29

Ruiz Moscardó, Javier. "La mayor comprensión para el mayor número: la posición de Noël Carroll acerca del “arte de masas”." Revista Guillermo de Ockham 16, no. 1 (June 13, 2018): 37–44. http://dx.doi.org/10.21500/22563202.3581.

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En el presente trabajo expondremos las líneas maestras de la teoría del arte de masas de Noël Carroll. La novedad de su propuesta radica en que, al contrario de la mayoría de pensadores que han abordado el fenómeno, nuestro filósofo busca una teoría puramente descriptiva que renuncie a la valoración de su objeto de estudio, limitándose a ofrecer un marco conceptual capaz de clasificar las expresiones artísticas de la sociedad de masas. Como complemento, intentaremos contextualizar su propuesta presentando las bases del debate mediante las ideas de Clement Greenberg y Dwight MacDonald, principales fundadores del tópico. Por último, concluiremos con algunos materiales para la crítica de la posición de Carroll.

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30

Froio, Camilla. "To Brecht and Back. Notes on Clement Greenberg’s Avant-Garde and Kitsch." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (July 20, 2021): 153–63. http://dx.doi.org/10.36253/aisthesis-12054.

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Clement Greenberg’s international reputation is partly due to the success of one of his first and most perceptive essays, Avant-Garde and Kitsch, published in the Fall 1939 issue of “Partisan Review”. Despite its unsurpassed importance, the article still requires a broader comprehension of its origins: according to Greenberg’s personal papers, the essay’s main concepts began to take form during the Winter 1939, when the author was involved in the drafting of a new essay on Bertolt Brecht, still unpublished today, at that time submitted to the “Partisan Review”’s editorial board but rejected. A second document enables to trace back Avant-Garde and Kitsch’s roots even further: according to a letter by Greenberg, one of the editors, Dwight Macdonald, plagiarized the rejected script as his last essay, Soviet Society and Its Cinema, clearly seemed to prove. The varied topics articulated in the letter, as well as in the draft on Brecht, would be at the basis of Avant-Garde and Kitsch, becoming crucial and early components of the editorial process of the well-known essay.

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31

Siedell, Daniel A. "Contemporary Art Criticism and the Legacy of Clement Greenberg: Or, How Artwriting Earned Its Good Name." Journal of Aesthetic Education 36, no. 4 (2002): 15. http://dx.doi.org/10.2307/3301564.

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32

Santos, Antonio Carlos. "Paris, mito e declínio / Nova York, o século XIX do futuro." Revista Crítica Cultural 1, no. 1 (June 1, 2006): 14. http://dx.doi.org/10.19177/rcc.v1e1200614-17.

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O ensaio faz um recorte de dois momentos da arte moderna ocidental: no primeiro, a cidade de Paris aparece como o mito da cultura do século XIX construído pelos livros; a cidade por onde passeiam Walter Benjamin e Nestor Victor, o flaneur e o dandy, personagens que cruzam e se contrapõem à multidão que toma as ruas. No segundo, a Nova York que surge no pós-guerra como uma nova capital do ocidente, uma cidade cujo desenho modernista, linhas retas que se perdem no horizonte, deixam tonto um visitante europeu como Jean-Paul Sartre. É nela que Clement Greenberg teoriza sobre o expressionismo abstrato e que Murilo Mendes vê "o século XIX do futuro".

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Kuspit, Donald. "Meyer Schapiro's Jewish Unconscious." Prospects 21 (October 1996): 491–508. http://dx.doi.org/10.1017/s0361233300006645.

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In 1994, Margaret Olin, reviewing the fourth volume of Meyer Schapiro's Selected Papers, observed that Schapiro “only seldom addressed [his] Jewish heritage”. Surely, she suggests, it must have influenced his practice of art history and criticism. But she is at a loss to say how. Olin notes that Schapiro's neglect of the issue is all the more conspicuous in view of the fact that his contemporaries, the Jewish-American art critics Clement Greenberg and Harold Rosenberg, openly viewed modern art from a Jewish perspective. While it was one among several heuristic gambits, they often privileged it as the most revelatory: the perspective that could disclose what is most at stake or immanent in modern art.

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Auther, E. "The Decorative, Abstraction, and the Hierarchy of Art and Craft in the Art Criticism of Clement Greenberg." Oxford Art Journal 27, no. 3 (March 1, 2004): 339–64. http://dx.doi.org/10.1093/oaj/27.3.339.

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35

Getsy, David. "Tactility or opticality, Henry Moore or David Smith: Herbert Read and Clement Greenberg on The Art of Sculpture, 1956." Sculpture Journal 17, no. 2 (December 2008): 75–88. http://dx.doi.org/10.3828/sj.17.2.7.

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36

Waki, Fábio. "Ontology for New Media Hybridity." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (December 27, 2017): 97–101. http://dx.doi.org/10.14195/2182-8830_5-1_21.

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Review of Jihoon Kim, Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, New York: Bloomsbury, 2016, 404 pp., ISBN 978-1-6289-2293-6. In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim tries to describe the ontology of contemporary artworks produced within the universe of New Media Art, particularly the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through digital platforms, technical supports or artistic practices initially strange to them. Revising theories by important art critics of the last decades, such as Clement Greenberg and Rosalind Krauss, and combining them with theories by contemporary art critics, such as Lev Manovich and Peter Weibel, Kim provides us new tools for understanding why this New Media hybridity is feasible as visual fruition, as well as why it is progressively capable of grasping new, historically-oriented, image possibilities.

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Christofides, Sheila. "A Tribute to Janice Van Horne's Legacy: Including a review of her memoir,A Complicated Marriage: My Life with Clement Greenberg." Australian and New Zealand Journal of Art 16, no. 1 (January 2, 2016): 109–13. http://dx.doi.org/10.1080/14434318.2016.1173619.

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38

Roberts, John. "After Adorno: Art, Autonomy, and Critique." Historical Materialism 7, no. 1 (2000): 221–39. http://dx.doi.org/10.1163/156920600794750829.

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AbstractIn conversation with two artist friends recently, both declared that Adorno was a far more serious and productive guide to their practices than any other philosopher or aesthetician. Given their work and histories as artists – one had lived through the period of conceptual art and had been won over briefly to its arguments, the other had emerged out of its ruins — this was a surprise. Like many artists in the late 1970s and early 1980s, both had fallen under the sway of Walter Benjamin, and were convinced, in their respective ways, that the dissolution of the category of Art into the forms of modern technology and everyday life was a good thing. Indeed, both artists were proselytisers for photography and its powers of social reference and communality. Discussions of art's autonomy were not on their checklist of priorities. In fact, if autonomy was discussed or thought of at all, it was denounced as a bourgeois category. Autonomy was what Clement Greenberg and modernist painters believed in, and the bane of all materialist art criticism. It was not what serious post-conceptualist artists, armed with the ‘critique of representation’ and theories of the social production of art, should be worrying about.

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39

Carpenter, Ken. "Alice Goldfarb Marquis, Art Czar, The Rise and Fall of Clement Greenberg. Boston, MFA Publications, 2006, 321 pp., 16 black-and-white illus., $35.00 U.S." RACAR : Revue d'art canadienne 31, no. 1-2 (2006): 105. http://dx.doi.org/10.7202/1069629ar.

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40

Linds, Justin Abraham. "Ferments and the AIDS virus: interspecies counter-conduct in the history of AIDS." Medical Humanities 45, no. 4 (August 13, 2019): 435–42. http://dx.doi.org/10.1136/medhum-2019-011670.

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In the first three decades after AIDS started infecting people in the USA and Canada, before, during and after the emergence of anti-retroviral therapies, numerous “alternative and holistic treatments” for AIDS were debated, tested, circulated, written about and taught. This paper, taking a narrow focus, examines documents that reveal how some people with AIDS developed a logic of care predicated on intimate interactions with microscopic lifeforms—the AIDS virus and the bacteria involved in fermentation, in particular. Focusing on the writings of Jon Greenberg and Sandor Katz, two former members of ACT UP/NY, I show that the men did not just dissent from management by biomedical authority but found new authority about how to care for themselves as people with AIDS from their interactions with non-human microscopic life. The practices and writings of both men demonstrate that Foucault’s theory of counter-conduct exists in the history of AIDS as an interspecies process in which microscopic existents lead humans. From Katz and Greenberg, I argue there is an interspecies dimension to counter-conduct that exists as a frame for understanding people who find in non-human life a guide towards unconventional forms of care, revised forms of human behaviour and philosophies for persisting with illness.

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Sharma-Poudyal, D., X. M. Chen, A. M. Wan, G. M. Zhan, Z. S. Kang, S. Q. Cao, S. L. Jin, et al. "Virulence Characterization of International Collections of the Wheat Stripe Rust Pathogen, Puccinia striiformis f. sp. tritici." Plant Disease 97, no. 3 (March 2013): 379–86. http://dx.doi.org/10.1094/pdis-01-12-0078-re.

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Wheat stripe rust (yellow rust [Yr]), caused by Puccinia striiformis f. sp. tritici, is an economically important disease of wheat worldwide. Virulence information on P. striiformis f. sp. tritici populations is important to implement effective disease control with resistant cultivars. In total, 235 P. striiformis f. sp. tritici isolates from Algeria, Australia, Canada, Chile, China, Hungary, Kenya, Nepal, Pakistan, Russia, Spain, Turkey, and Uzbekistan were tested on 20 single Yr-gene lines and the 20 wheat genotypes that are used to differentiate P. striiformis f. sp. tritici races in the United States. The 235 isolates were identified as 129 virulence patterns on the single-gene lines and 169 virulence patterns on the U.S. differentials. Virulences to YrA, Yr2, Yr6, Yr7, Yr8, Yr9, Yr17, Yr25, YrUkn, Yr28, Yr31, YrExp2, Lemhi (Yr21), Paha (YrPa1, YrPa2, YrPa3), Druchamp (Yr3a, YrD, YrDru), Produra (YrPr1, YrPr2), Stephens (Yr3a, YrS, YrSte), Lee (Yr7, Yr22, Yr23), Fielder (Yr6, Yr20), Tyee (YrTye), Tres (YrTr1, YrTr2), Express (YrExp1, YrExp2), Clement (Yr9, YrCle), and Compair (Yr8, Yr19) were detected in all countries. At least 80% of the isolates were virulent on YrA, Yr2, Yr6, Yr7, Yr8, Yr17, YrUkn, Yr31, YrExp2, Yr21, Stephens (Yr3a, YrS, YrSte), Lee (Yr7, Yr22, Yr23), and Fielder (Yr6, Yr20). Virulences to Yr1, Yr9, Yr25, Yr27, Yr28, Heines VII (Yr2, YrHVII), Paha (YrPa1, YrPa2, YrPa3), Druchamp (Yr3a, YrD, YrDru), Produra (YrPr1, YrPr2), Yamhill (Yr2, Yr4a, YrYam), Tyee (YrTye), Tres (YrTr1, YrTr2), Hyak (Yr17, YrTye), Express (YrExp1, YrExp2), Clement (Yr9, YrCle), and Compair (Yr8, Yr19) were moderately frequent (>20 to <80%). Virulence to Yr10, Yr24, Yr32, YrSP, and Moro (Yr10, YrMor) was low (≤20%). Virulence to Moro was absent in Algeria, Australia, Canada, Kenya, Russia, Spain, Turkey, and China, but 5% of the Chinese isolates were virulent to Yr10. None of the isolates from Algeria, Canada, China, Kenya, Russia, and Spain was virulent to Yr24; none of the isolates from Algeria, Australia, Canada, Nepal, Russia, and Spain was virulent to Yr32; none of the isolates from Australia, Canada, Chile, Hungary, Kenya, Kenya, Nepal, Pakistan, Russia, and Spain was virulent to YrSP; and none of the isolates from any country was virulent to Yr5 and Yr15. Although the frequencies of virulence factors were different, most of the P. striiformis f. sp. tritici isolates from these countries shared common virulence factors. The virulences and their frequencies and distributions should be useful in breeding stripe-rust-resistant wheat cultivars and understanding the pathogen migration and evolution.

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Mukan, Nataliya, Iryna Myskiv, and Svitlana Kravets. "The Characteristics of the Systems of Continuing Pedagogical Education in Great Britain, Canada and the USA." Comparative Professional Pedagogy 6, no. 2 (June 1, 2016): 20–25. http://dx.doi.org/10.1515/rpp-2016-0013.

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Abstract In the article the systems of continuing pedagogical education in Great Britain, Canada and the USA have been characterized. The main objectives are defined as the theoretical analysis of scientific-pedagogical literature, which highlights different aspects of the problem under research; identification of the common and distinctive features of the systems of continuing pedagogical education in Great Britain, Canada, the USA. The legislative and normative framework of teachers’ CPD in Great Britain, Canada and the USA has been highlighted; the levels of the systems of continuing pedagogical education have been presented; the main functions of these systems have been determined; the key models, forms and methods of teachers’ CPD have been defined. Foreign and domestic scientists have studied the teachers’ CPD: teacher leadership (T. Bush, M. Clement, D. Jackson, D. Pavlou, R. Venderberghe), models, forms and methods of teachers’ CPD (L. Chance, A. Hollingsworth, D. Ross, E. Villegas-Reimers), non-formal teachers’ CPD (J. Scheerens). The research methodology comprises theoretical (logical, induction and deduction, comparison and compatibility, structural and systematic, analysis and synthesis) and applied (observations, questioning and interviewing) methods. The research results have been presented.

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Schmidt, Ulrik. "The Generalized Image: Imagery Beyond Representation in Early Avant-Garde Film." Artifact 4, no. 1 (October 4, 2017): 6. http://dx.doi.org/10.14434/artifact.v4i1.13371.

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The dichotomy between the figurative and the abstract has often been evoked as a key element in the understanding of the modern image, as it was the case, for example, in influential art historians such as Wilhelm Worringer and Clement Greenberg. However, if such a rigid opposition between the abstract and figurative has ever been qualified, an unlimited number of images after 1900 – whether painted, printed or screen-based – have significantly obscured any clear distinction between the two.Hence, if one wishes to understand the very nature of modern images it is indispensable to ask what it could mean to conceive of images beyond the opposition between the abstract and the figurative: How could we think of images that are neither figurative nor abstract, or perhaps are both at the same time? How could we think of images that are not either signifying and representational or non-signifying and non-representational but rather a-signifying and a-representational in the sense that they operate and find expression beyond the very question of signification and representation?The aim of this text is to explore some of the key elements in such imagery beyond representation. I will investigate the issue by revisiting a series of iconic images in early 1920s avant-garde film by the artists Man Ray and Fernand Léger. On this background, and in dialogue with film theorists and philosophers such as Malcolm Le Grice and Gilles Deleuze, I outline the basic properties and aesthetic potentials of what I term the generalized image as an imagery that operates and affects beyond the very question of representation.

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Dandy, Elizabeth. "Understanding Canada: Building on the New Canadian Political EconomyWallace Clement, ed. Montreal: McGill-Queen's University Press, 1997, pp. vii, 408." Canadian Journal of Political Science 32, no. 4 (December 1999): 783–84. http://dx.doi.org/10.1017/s0008423900017005.

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Goldzycher, Alejandro. "La ciudad y la ciudad. Fantasías póstumas en la narrativa breve de Samuel Beckett y China Miéville." Beckettiana, no. 16 (April 1, 2019): 29–58. http://dx.doi.org/10.34096/beckettiana.n16.7980.

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Desde el cambio de milenio, los abordajes críticos de la obra de Samuel Beckett – figura incuestionable del modernismo literario– a la luz de materiales considerados marginales respecto de la literatura “seria” han tenido un crecimiento considerable. Entre otras intervenciones críticas, se han sugerido posibles conexiones entre sus escritos y ciertas ramas de la ficción especulativa. Esto ha implicado poner a prueba un régimen de jerarquías y diferencias que cierta mitología (pos)modernista enunció como una “Gran División” (Huyssen) entre arte elevado y cultura de masas. Desde el otro lado de esta divisoria, el nombre de China Miéville –comúnmente asociado a la New Weird fiction– transita hoy un proceso de canonización que realza ciertas características de su escritura, tratando otras estratégicamente, en pos de su consagración como escritor “literario”. Sintomática de estos cruces ha sido la inclusión de ambos autores en un canon de escrituras slipstream, nombre que el escritor estadounidense Bruce Sterling dio a un supuesto género emergente capaz de expresar lo enrarecido de la experiencia contemporánea. El prisma del subgénero “fantasía póstuma” nos dará una base para articular el close reading de los materiales con algunas de esas grandes ficciones totalizantes que han dado forma al debate “teórico” en Gran Bretaña y los EE.UU. desde los años ochenta. A través de este ensayo de “mediación middlebrow” (término cuya alcurnia modernista se remonta a figuras como Virginia Woolf, Dwight Macdonald o Clement Greenberg), investigaremos las premisas y los efectos metodológicos, hermenéuticos y conceptuales que arroje el análisis comparado de los textos. Focalizándonos en las estéticas urbanas desplegadas por ambos autores, evaluaremos las potencialidades de ciertas perspectivas recientes en torno a Beckett, pero también los límites de un abordaje supuestamente “no canonizante” de la obra del gran autor irlandés.

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Ulrich, T., D. G. F. Long, B. S. Kamber, and M. J. Whitehouse. "In Situ Trace Element and Sulfur Isotope Analysis of Pyrite in a Paleoproterozoic Gold Placer Deposit, Pardo and Clement Townships, Ontario, Canada." Economic Geology 106, no. 4 (June 1, 2011): 667–86. http://dx.doi.org/10.2113/econgeo.106.4.667.

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Włodarczyk, Wojciech. "1989. On the Concept of Modernism." Artium Quaestiones, no. 30 (December 20, 2019): 257–70. http://dx.doi.org/10.14746/aq.2019.30.14.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.

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Włodarczyk, Wojciech. "Rok 1989 – wokół pojęcia modernizmu." Artium Quaestiones, no. 30 (December 20, 2019): 415–28. http://dx.doi.org/10.14746/aq.2019.30.25.

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The author argues that the significance of the year 1989 for Polish art was not determined by political changes, but by the rise of postmodernism. Until that moment, the term “modernism” usually referred in academic art history to Polish art at the turn of the 20th century. The concept of postmodernism brought to the Polish language a new meaning of modernism as simply modern art, and more precisely, as modern art defined by Clement Greenberg. That change made it necessary to draw a new map of concepts referring to modern Polish art, most often defined before by the concept of the avant-garde. In Mieczysław Porębski’s essay “Two Programs” [Dwa programy] (1949), and then, since the late 1960s, in Andrzej Turowski’s publications, the concept of the avant-garde was acknowledged as basic for understanding twentieth-century Polish art. The significance of the concept of the avant-garde in reference to the art of the past century in Poland changed after the publication of Piotr Piotrowski’s book of 1999, Meanings of Modernism [Znaczenia modernizmu]. Piotrowski challenged in it the key role of that concept – e.g., Władysław Strzemiński and Henryk Stażewski, usually called avant-gardists before, were considered by him modernists – in favor of a new term, “critical art,” referring to the developments in the 1990. In fact, critical art continued the political heritage of the avant-garde as the radical art of resistance. The author believes that such a set of terms and their meanings imposes on the concept of the avant-garde some limits, as well as suggests that scholars and critics use them rather inconsistently. He argues that concepts should not be treated as just label terms, but they must refer to deeper significance of tendencies in art. He mentions Elżbieta Grabska’s term “realism,” also present in the tradition of studies on modern Polish art, and concludes with a postulate of urgent revision of the relevant vocabulary of Polish art history.

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Saunders, L. Z. "Virchow's Contributions to Veterinary Medicine: Celebrated Then, Forgotten Now." Veterinary Pathology 37, no. 3 (May 2000): 199–207. http://dx.doi.org/10.1354/vp.37-3-199.

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In 1858, Rudolf Virchow, the professor of pathology in Berlin University, published the book “Cellular Pathology”. A compendium of his lectures to physicians and medical students, he introduced the use of microscopy for the study of human diseases. To an astonishing extent Rudolf Virchow was helpful to the disciplines of veterinary medicine (and veterinary pathology). Considered a scientific genius in several disciplines, this essay deals exclusively with the devotion of Virchow, a scholarly physician, to the profession of veterinary medicine. He respected veterinary research, supported governmental veterinary education, and provided a role model for the veterinarians who were drafting control legislation of contagious diseases in livestock. Repeatedly, he responded in help when seemingly irretrievable problems arose. Examples of Virchow's activities in the realms of veterinary medicine and pathology are marshalled here to shed light on this pioneer “veterinary pathologist”. In celebration of 50 years of the American College of Veterinary Pathologists in 1999, it is timely to remember that Rudolf Virchow, the father of cellular pathology, also fathered veterinary pathology, whose offsprings in Canada and the U.S.A. (Osler, Clement, Williams, Olafson, Jones 26 ) had enabled them to form and foster the A.C. V.P.

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Berrebi, Sophie. "Caroline Jones, Eyesight Alone: Clement Greenberg's Modernism and the Bureaucratization of the Senses. Chicago: Chicago University Press, 2006. 553 pp. ISBN 978 0 226 40951 1 (hbk); ISBN 978 0 226 40953 5 (pbk) Alice Goldfarb-Marquis, Art Czar: The Rise and Fall of Clement Greenberg. Boston: MFA Publications, 2006. 336 pp. ISBN 978 0878467013." Journal of Visual Culture 7, no. 1 (April 2008): 123–26. http://dx.doi.org/10.1177/1470412907087204.

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