Academic literature on the topic 'Polish contemporary art'
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Journal articles on the topic "Polish contemporary art"
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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.
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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Kossowska, Irena. "Politicized Aesthetics: German Art in Warsaw of 1938." Art History & Criticism 13, no. 1 (2017): 29–41. http://dx.doi.org/10.1515/mik-2017-0003.
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Summary This paper focuses attention on the reception of the exhibition “Deutsche Bildhauer der Gegenwart”, which was inaugurated on April 23rd, 1938 at the Institute of Art Propaganda in Warsaw – an institution whose exhibition hall was considered a venue of crucial importance to the cultural policy of the Polish state. The presentation was organized in the framework of a cultural exchange between Poland and Germany which was initiated by an exhibition of Polish contemporary art mounted in 1935 at the Preußischen Akademie der Künste in Berlin. I will present the response of the Warsaw public to the presentation of contemporary German sculpture within the context of traditionalist ideology which was promulgated in Poland as much as across Europe in the decades between the two world wars. Drawing on traditionalism, which heralded a prevalence of national cultural values strongly anchored in the past, I will question the relevance of its rhetoric to the artistic phenomena evolving under political pressure. It seems intriguing to juxtapose the accounts provided by Polish and German authorities from the art world in an attempt to grasp the semantic content of such categories as “the genius of the race”, as reflected in the 1930s’ critical discourse. Moreover, in order to reflect upon the concept of propaganda art – another key notion of the time – it is worth considering the response of Polish commentators to official exhibitions of other nation-states held in Warsaw in the 1930s.
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Padyan, Yu Yu. "PERFORMANCE AS A CONTEMPORARY ART PHENOMENON." Arts education and science 1, no. 1 (2021): 148–56. http://dx.doi.org/10.36871/hon.202101017.
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The end of the XIXth — beginning of the XXth centuries is a special period in the history of world art culture, characterized by the emergence of such trends as modernism, post-impressionism, avant-gardism, abstractionism, cubism, surrealism and many others. The motto of XXth-century art was "Art into Life". Often new trends became a response to the demand of the mass consumer. One of them was the art of performance. Appearing as a rejection of traditional practices of painting, sculpture and theater, performance organically incorporated wellknown and new approaches and technologies that caused an alternative way of working with space and time. It should be noted that historiography focuses on materials that explore the origins of performance and installation on a global scale. The most significant are the works by American, Western European and Polish authors. At the same time, the historiographic review showed a lack of a large scientific heritage of Russian artists in the field of performance: the process of forming modern art criticism, which would reflect the later history of performance than the first half of the XXth century, is still out of the researchers' sight.
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Majewski, Piotr. "Constructing the canon: exhibiting contemporary Polish art abroad in the Cold War era." Ikonotheka, no. 30 (May 28, 2021): 135–53. http://dx.doi.org/10.31338/2657-6015ik.30.7.
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The article focuses on the attempts of constructing and presenting the canon of Polish modern and contemporary art in the West after World War II. Initially, the leading role was played by Colourists – painters representing the tradition of Post-Impressionism. After 1956 the focus shifted towards artists who drew in their practice on tachisme and informel. However, the most enduring effects brought the consistent promotion of the interwar Polish Constructivism and its postwar followers. The article discusses the subsequent stages of this process, from the famous exhibition at the Paris Galerie Denise René in 1957, through exhibitions such as Peinture moderne polonaise. Sources et recherches (Modern Polish Painting. Sources and Experiments) from the late 1960s, up to the monumental Présences polonaises (Polish Presences) from 1983 (both in Paris), showing that these efforts contributed to securing a permanent position of Polish Constructivism within the global heritage of 20th-century art.
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Szczerski, Andrzej. "Why the PRL Now? Translations of Memory in Contemporary Polish Art." Third Text 23, no. 1 (2009): 85–96. http://dx.doi.org/10.1080/09528820902786719.
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Mazurkiewicz, Michał. "Sport w sztuce. Sport in Art. 2012. Eds. M. KozioŁ, D. Piekarska, M. A. Potocka." Respectus Philologicus 24, no. 29 (2013): 237–39. http://dx.doi.org/10.15388/respectus.2013.24.29.22.
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Sport w sztuce. Sport in Art. M. Kozioł, D. Piekarska, M. A. Potocka, eds. 2012. Kraków: Museum of Contemporary Art in Kraków. 200 pp. ISBN 978-83-62435-64-7.
 Sport in Art, published by the Museum of Contemporary Art in Kraków, presents the most recent contemporary art, both Polish and international. To be more precise, the Museum focuses on exhibiting contemporary art of the last two decades. It was opened quite recently—in 2011.
 Sport in Art was published to accompany an exhibition which took place between May and September 2012 in the Museum. It presents over forty artists and their unique perspectives and interpretations of sport. As Maria Anna Potocka stated, “The range and diversity of the artistic problems that arise under the influence of sporting inspiration are—even within the narrow scope of this exhibition—truly impressive.”
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Strożek, Przemysław. "Off-field spectacle: Polish contemporary art and the national game (1921–2012)." Soccer & Society 18, no. 4 (2015): 476–96. http://dx.doi.org/10.1080/14660970.2015.1018499.
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Wawrzak, Małgorzata. "MIECZYSŁAW TRETER (1883–1943): PRECURSOR OF POLISH MUSEOLOGY." Muzealnictwo 60 (September 25, 2019): 273–84. http://dx.doi.org/10.5604/01.3001.0013.5008.
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Mieczysław Treter is by no means an ordinary individual: an art historian, aesthetician, museum practitioner and theoretician-museologist, an individual of many professions, lecturer, journal editor, member of numerous organizations, propagator of Polish art abroad, manager, exhibition organizer. In the interwar period one of the most influential critics and art theoreticians, among the museum circles he was mainly known as the author of the recently reissued 1917 publication called Contemporary Museums. Museological Study. Beginnings, Types, Essence, and Organization of Museums. Public Museum Collections in Poland and Their Future Development. Born on 2 August 1883 in Lvov, in 1904 Mieczysław Henryk Treter started working with the Prince Lubomirski Museum as the scholarship holder of the Lvov Ossolineum. In 1910, he became Curator at the Museum, performing this function until the outbreak of WW I. He participated in the First Congress of Polish Museologists, held in Cracow on 4 and 5 April 1914. During WW I, he was in Kharkov and Crimea, and it was there that he wrote his most important study Contemporary Museums. In 1917, having moved to Kiev he became involved in the activity of the social movement for the care of Polish monuments throughout the former Russian Empire. In 1918, he returned to Lvov, became member of the national Eastern Galicia Conservation Circle, and retook the position of the Curator at the Prince Lubomirski Museum, to finally become its Director. On 4 February 1922, Mieczysław Treter was appointed Director of the State Art Collections, the position he retained until 1924. In 1926, he became Director of the Society for the Promotion of Polish Art Abroad, whose main task was to promote works of Polish artists in Poland and abroad. He passed away in Warsaw on 25 October 1943. Systematizing the theoretical knowledge and the report on the existing museums in the country deprived of its statehood in the book Contemporary Museums created a departure point for its Author, who following Poland’s regaining independence worked out the organization of state collections. Treter’s proposals were to regulate the position of Polish museum institutions complicated due to the partition period, for them, while rivaling foreign museums, to become elements boosting the young state’s prestige.
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Pageot, Edith-Anne. "Figure de l’indiscipline. Domingo Cisneros, un parcours artistique atypique." RACAR : Revue d'art canadienne 42, no. 1 (2017): 5–21. http://dx.doi.org/10.7202/1040836ar.
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Between 1974 et 1996, the Canadian artist of Mexican origin Domingo Cisneros was seen as a leading figure in contemporary art in Canada. He played a major role in the process of self-determination that First Nations artists undertook following the infamous 1969 White Paper, the Statement of the Government of Canada on Indian Policy. Cisneros was recognized both in the Native and Quebec francophone contemporary art worlds, and was internationally acclaimed within the conceptual and contextual art milieu gathered around the Polish artist Jan Swidzinski. His contribution has nevertheless been forgotten. Coinciding with his seventy-fifth birthday, this article aims to review, conceptually frame, and contextualize Cisneros’s role and impact on the Canadian art scene. It argues that his interdisciplinarity, or “indiscipline,” was instrumental in building connexions and bridges between heterogeneous values, cultural protocols, and epistemological principles.
Dissertations / Theses on the topic "Polish contemporary art"
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FILGUEIRAS, CARMEN DE PAULA. "THE COMPLEX ART OF MURDER: THE POLICE GENRE IN CONTEMPORARY LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30103@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>PROGRAMA DE DOUTORADO NO PAÍS COM ESTÁGIO NO EXTERIOR<br>A literatura policial nasceu em um ambiente de revolução técnica que modificou profundamente o cotidiano na cidade. Essa transformação afetou a relação entre sociedade e arte, além de criar condições para o desenvolvimento da imprensa, primeiro suporte em que as narrativas do gênero foram publicadas. Ao longo de quase dois séculos, a literatura policial sofreu alterações ideológicas que a presente pesquisa retoma para traçar paralelos entre a sensibilidade contemporânea e o contexto cultural que, conforme a tese nietzschiana, possibilitou o nascimento da tragédia. Ao comparar os efeitos poéticos da tragédia e da literatura policial contemporânea, a partir da relação que têm com o racionalismo, propõe-se uma aproximação entre os dois gêneros. Nessa perspectiva, estuda-se ainda a narrativa policial como suporte da ficção contemporânea.<br>Police literature was born in an environment of technical revolution that changed the everyday city life profoundly. The modification affected the relation between society and art, and it also created conditions for the development of the press - the first place the police genre was to be published. During these almost two centuries, the ideology in police literature has modified. This research examines those changes so as to demonstrate similitudes between contemporary sensibility and the cultural context that allowed the birth of the tragedy, according to Nietzsche s thesis. By comparing the poetic effect in tragedy to that in police literature, and by considering their relations with rationalism, this study proposes that there is a close proximity between the two genres. Within this perspective, the police narrative is analyzed as a supporting prop in contemporary fiction.
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Bastoen, Julien. "L’Art contre l’État ? : la trajectoire architecturale du Musée du Luxembourg dans la construction de l’illégitimité de l’action artistique publique, 1848-1920." Thesis, Paris Est, 2015. http://www.theses.fr/2015PEST1075/document.
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Interrogeant les rapports entre l'État et le champ artistique en France entre 1848 et 1920, ce travail de recherche en histoire de l'architecture repose sur le postulat que la trajectoire architecturale du Musée du Luxembourg fut l'un des lieux privilégiés de la construction d'une représentation négative de l'intervention de l'État dans les affaires artistiques. Ce musée, dont les collections sont aujourd'hui atomisées dans différentes institutions parisiennes et provinciales, devint, en 1818, le premier musée d'art contemporain, par la volonté du roi Louis XVIII. Dès l'origine, il fut considéré comme la pépinière du Louvre. Cette relation de symbiose entre les deux institutions, basée sur le principe des vases communicants, servit de référence à l'émergence de nouveaux paradigmes muséaux en Europe et en Amérique du Nord, jusqu'au premier tiers du XXe siècle. La principale mission du Musée du Luxembourg était d'affirmer la supériorité de l'art français face à celui des autres puissances européennes. Si sa représentativité artistique fut pour le moins partielle, son exemplarité architecturale, elle, demeura un idéal jamais atteint. L'analyse de fonds d'archives, de revues de presse et de documents parlementaires, permet de vérifier l'hypothèse de la construction progressive d'un antagonisme, grâce à la mobilisation de différentes catégories d'acteurs appartenant ou non au champ artistique. Cette mobilisation s'effectue collectivement par le biais des journaux, au sein des sociétés artistiques, des sociétés de mécènes, de groupements de citoyens et de fédérations de commerçants, sous la forme de discours, de pétitions, d'enquêtes ou de campagnes de presse, ou bien individuellement, à l'initiative des artistes représentés au musée ou de journalistes influents. Toutefois, la remise en question la plus décisive du rôle de l'État provient des utilisateurs du musée eux-mêmes, souvent impuissants face à la pesanteur des rouages bureaucratiques, à la maigreur des budgets alloués aux musées nationaux, et à l'inadaptation des locaux avec lesquels ils doivent composer. La construction de cette représentation négative se structure autour de moments clés récurrents : vernissage d'un nouvel accrochage des collections, intégration des œuvres d'un legs ou d'une donation, dépôt et discussion d'un rapport sur le budget des Beaux-arts, Expositions universelles, incidents touchant les collections, rumeurs colportées par la presse. Néanmoins, les moments les plus critiques coïncident avec la remise en question de l'existence même du musée, avec la menace de son expulsion, ou avec l'officialisation et la mise en œuvre de projets de relogement, qu'il s'agisse du transfert du musée dans des bâtiments existants, d'extension de ses locaux, ou de leur reconstruction intégrale. Chacun de ces événements contribue à la cristallisation de thèmes et d'enjeux, qui vont polariser l'essentiel des critiques formulées à l'égard de l'action artistique publique. On peut ainsi dégager quatre thèmes récurrents dans les débats : l'absence d'exemplarité architecturale du musée, incompatible avec le rayonnement artistique de la France et de sa capitale ; l'impossibilité de mobiliser les fonds nécessaires à une résolution définitive de la question de l'exemplarité architecturale ; l'impossible consensus sur la question de localisation du musée dans l'hypothèse de son relogement ; le paradoxe entre la construction d'une expertise des conservateurs en matière de programmation architecturale et l'incapacité de l'État à leur donner les moyens de l'appliquer. En aucun cas, cependant, cette critique de l'action (ou de l'inaction) de l'État ne débouche, avant 1920, sur des projets de création de musées concurrents et indépendants ; la mobilisation du champ artistique est tournée vers une forme d'assistance à l'État, dans la résolution de la crise qui touche le Musée du Luxembourg<br>This dissertation in architectural history argues that the architectural trajectory of the Luxembourg Museum in Paris was one of the main reasons why the French public art policy was considered as unwarranted and illegitimate. The Luxembourg Museum, whose collections are now scattered in various Parisian and provincial institutions, became in 1818 the world's first museum of contemporary art, by the will of King Louis XVIII. From the beginning, its aim was to feed the Louvre with recent and national art. The symbiotic relationship between these two museums, which was based on the principle of communicating vessels, was a paradigm for new museums in Europe and North America, until the first third of the twentieth century. Although the main mission of the Luxembourg Museum was to assert the superiority of French art face to that of other European nations, it was long criticized not only because it did not reflect the diversity of artistic trends, but also because the conditions under which its collections were stored and exhibited were unworthy of Paris' attractiveness and influence. Through the analysis of primary sources, press reviews and parliamentary papers, we wanted to test the hypothesis that the mobilization of different categories of stakeholders within and outside the artistic field led to an increasing distrust of public art policy. Leading artists represented in the museum, influential journalists from daily and art newspapers, art and patrons societies, citizens and merchant associations, promoted mobilization against through speeches, petitions, surveys or media campaigns. Even the museum professionals themselves were powerless against complicated bureaucratic procedures, shoestring budgets for national museums, and unsuitable storage and exhibition spaces, and ended up questioning the role of the French state in art policy. The negative image of the role of the French state was shaped at key moments and recurring events: the re-hanging of the collection, the display of a new gift or bequest, discussions about the annual budget of the ministry of Fine-Arts, World Fairs, preventive conservation matters, and rumors. However, the most critical moments coincided with the questioning of the very existence of the museum, with the threat of its uprooting, or the formalization and implementation of resettlement, extension or reconstruction schemes. Each of these events crystallized themes and issues that polarized most of the criticisms aired at the public art policy. We identified four major topics in this debate: the shameful absence of a purpose-built museum of contemporary art in Paris; the Governement's inability to raise funds to finally resolve the architectural issue; the lack of consensus on the future museum's location issue; the contradiction between the recognition of the curators' skills in architectural design and the inability of their administration to give them the opportunity to apply them. The main paradox is that although the public art policy was more and more considered as inaccurate and illegitimate, most of the artistic field helped the Government to resolve the ‘Luxembourg issue' and build a monument worthy of the nation
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Sawicki, Lea. "Verb-valency in contemporary Polish : a study of the major valency-types /." Tübingen : G. Narr Verlag, 1988. http://catalogue.bnf.fr/ark:/12148/cb35508851z.
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Bernard, Yves-Michel. "Origine et création des fonds régionaux d'art contemporain en France : 1981-1986, les années militantes." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30042.
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Cette thèse a pour objet l’étude de l’origine et de la création des fonds régionaux d’art contemporain (FRAC) entre 1981 et 1986. Le plan se divise en trois grandes parties. La première partie analyse les modes d’acquisitions et d’expositions qui, au cours du XX° siècle en France, ont été des modèles pour la constitution des FRAC. La seconde partie étudie l’engagement du ministère de la culture dans une politique ambitieuse qui aboutit à la création des FRAC après l’arrivée de la gauche au pouvoir en 1981. La troisième partie, à proprement parlée d’histoire de l’art, porte sur les collections des FRAC. Cette étude des collections a constitué l’essence de la recherche établie à partir de données informatiques de videomuseum qui a opéré un recensement de toutes les acquisitions. La thèse s’appuie également sur des documents d’archives, des travaux existants, une étude sur le terrain dans chaque collection de FRAC, d’entretiens et d’un dépouillement de la presse artistique. Issus des revendications politiques formulées dans le programme de la gauche1 pour les élections présidentielles de mai 1981, les FRAC, financés à parité par l’Etat et par les régions, constituent un exemple fort de la réussite d’une politique culturelle décentralisée. Entre 1983 (date des premières acquisitions) et mars 1986 (date de la défaite de la gauche aux élections législatives) les vingt et un FRAC en activité ont acquis un total de 5 438 oeuvres provenant de 1 377 artistes. Fonds d’exception dans le paysage culturel français, les FRAC sont l’aboutissement d’une volonté de démocratisation revendiquée depuis les années 60. Jusqu’en 1986, la croissance constante des crédits d’acquisition - autant du côté de l’Etat que des conseils régionaux - aurait pu conduire à l’établissement d’une esthétique officielle. Nous verrons qu’il y a eu tout au plus des « zones d’influence » qui sont apparues pour compenser de réelles absences dans les collections des musées en région. Toutefois, malgré cet incontestable investissement institutionnel, la puissance publique ne pouvait prétendre à devenir un acteur majeur dans l’histoire de l’art<br>This thesis studies in depth, the origin and the creation of theRegional Contemporary Art Collection (FRAC) between 1981 and 1986. The plan is divided into three main parts. The first part analyses the patterns of acquisitions and eexhibitions, which were models for the formation of the FRAC during the twentieth century in France. The second part examines the commitment of the Ministry of Culture in an ambitious policy that led to the creation of the FRAC after the arrival of the labour party who came to power in 1981. The third part, strictly concerning the history of art, focuses on the collections of the FRAC. This study of the collections has been the core of the research, established from computer data created by Videomuseum, who made a census of all acquisitions. The thesis is also based on archival documents, existing works, an onsite study of each collection of the FRAC, interviews and a literature of artistic media. Included in the labour party’s political program for the presidential elections of May 1981, the FRAC, funded equally by the State and the Regions, is a strong example of the success of a decentralized cultural policy. Between 1983 and March 1986 twenty-one FRAC in activity acquired a total of 5,438 works of art from 1,377 artists.Since the 1960s, the FRAC is an exception in French cultural funding and the result of a desire for democratisation. Until 1986, the continued growth of acquisition loans - offered by the State and regional councils - could lead to the establishment of a formal aesthetic. “Zones of influence" emerged to compensate for absences in the museum collections in the region. However, despite this undeniable institutional investment, public power was not entitled to become a major player in the history of art
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Simon, Lydia Noelle. ""Cultural Creative Industry Parks" and Chinese Contemporary Art—A Comparative Study of Beijing's 798 Arts District and Songzhuang Artist Village." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149265536987791.
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Rutherford, Paul, and prpdsr@mail usyd edu au. "The Problem of Nature in Contemporary Social Theory." The Australian National University. Research School of Social Sciences, 2000. http://thesis.anu.edu.au./public/adt-ANU20011217.114840.
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This work examines the ways in which the relationship between society and nature is problematic for social theory. The Frankfurt Schools notion of the dialectic of enlightenment is considered, as are the attempts by Jurgen Habermas to defend an emancipatory theory of modernity against this. The marginalising effect Habermas defence of reason has had on the place of nature in his critical social theory is examined, as is the work of theorists such as Ulrich Beck and Klaus Eder. For these latter authors, unlike Habermas, the social relation to nature is at the centre of contemporary society, giving rise to new forms of modernisation and politics.
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Michel Foucaults work on biopolitics and governmentality is examined against the background of his philosophical debate with Habermas on power and rationality. The growth of scientific ecology is shown to have both problematised the social relation to nature and provided the political technology for new forms of regulatory intervention in the management of the population and resources. These new forms of intervention constitute a form of ecological governmentality along the lines discussed by Foucault and others in relation to the human sciences.
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However, Foucaults work is not sufficiently critical of the relationship between the natural sciences and power. Extending Foucaults biopolitics to environmental discourse is consistent with his general approach to power, but his incomplete critique of political sovereignty meant that for him agency remained tied to an idealised notion of the autonomy of the human subject. He therefore made too strong a distinction between the human and natural sciences and between power and the capacities of non-human entities, and continued to view the natural sciences as separating themselves from power in a way that was not possible in the human sciences.
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A more general critique of epistemic sovereignty reveals that the natural sciences (including ecology) are subject to disciplinary and normalising practices similar to those of the human sciences. Foucaults key inadequacy is that he linked agency to human autonomy and sovereignty. The work of Bruno Latour and other actor network theorists show that an unambiguous ontological distinction between nature, material technologies and active human subjects is highly problematic. In the place of a separate society and nature, this thesis argues that it is preferable to see these as a single socio-nature populated by the hybrid products of translation networks.
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By drawing together the insights of recent governmentality studies and the approach of actor network theory to agency and translation, Foucaults concept of biopolitics can be adapted to provide a theoretical framework for understanding the ecological programs of government that have emerged around the problem of nature in second half of the twentieth century.
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Griffiths, Joanne. "Curriculum contestation : analysis of contemporary curriculum policy and practices in government and non-government education sectors in Western Australia." University of Western Australia. Graduate School of Education, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0178.
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[Truncated abstract] The aim of this study was to analyse the changing dynamics within and between government and non-government education sectors in relation to the Curriculum Framework (CF) policy in Western Australia (WA) from 1995 to 2004. The Curriculum Council was established by an act of State Parliament in 1997 to oversee the development and enactment of the CF, which was released in 1998. A stated aim of the CF policy was to unify the education sectors through a shared curriculum. The WA State government mandated that all schools, both government and non-government, demonstrate compliance by 2004. This was the first time that curriculum was mandated for non-government schools, therefore the dynamics within and between the education sectors were in an accelerated state of transformation in the period of study. The timeframe for the research represented the period from policy inception (1995) to the deadline for policy enactment for Kindergarten to Year 10 (2004). However, given the continually evolving and increasingly politicised nature of curriculum policy processes in WA, this thesis also provides an extended analysis of policy changes to the time of thesis submission in 2007 when the abolition of the Curriculum Council was formally announced - a decade after it was established. ... The research reported in this thesis draws on both critical theory and post-structuralist approaches to policy analysis within a broader framework of policy network theory. Policy network theory is used to bring the macro focus of critical theory and the micro focus of post-structuralism together in order to highlight power issues at all levels of the policy trajectory. Power dynamics within a policy network are fluid and multidimensional, and power struggles are characteristic at all levels. This study revealed significant power differentials between government and non-government education sectors caused by structural and cultural differences. Differences in autonomy between the education sectors meant that those policy actors within the non-government sector were more empowered to navigate the competing and conflicting forms of accountabilities that emerged from the changes to WA curriculum policy. Despite both generalised discourses of blurring public/private boundaries within the context of neoliberal globalisation and specific CF goals of bringing the sectors together, the boundaries continue to exist. Further, there is much strategising about how to remain distinct within the context of increased market choice. This study makes a unique and significant contribution to the understanding of policy processes surrounding the development and enactment of the CF in WA and the implications for the changing dynamics within and between the education sectors. Emergent themes and findings may potentially be used as a basis for contrast and comparison in other contexts. The research contributes to policy theory by arguing for closer attention to be paid to power dynamics between localised agency in particular policy spaces and the state-imposed constraints.
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Carstocea, George. "Reality, language, and history: three facets of contemporary Romanian cinema." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12312.
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Thesis (M.F.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>The purpose of this thesis is to closely analyze some of the individual authorial voices that have emerged from contemporary Romanian cinema. Billed by the international critical establishment as a "New Wave," the recent slate of Romanian productions, while very successful on the international festival circuit, still lacks an apt conceptualization of the precise characteristics that set these new filmmakers apart, not only from other international directors, but also from one another. The analysis focuses on six recent productions: Stuffand Dough (2001), The Death of Mr. Lazarescu (2005) and Aurora (2010) by Cristi Puiu, 12:08 East of Bucharest (2006) and Police, Adjective (2010) by Corneliu Porumboiu, and The Autobiography of Nicolae Ceausescu (2010) by Andrei Ujica, breaking down the individual authorial characteristics and thematic and stylistic concerns of each filmmaker and contextualizing them within the larger history of Romanian film, as well as the trajectories of international art cinema.
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Figini-Véron, Véronique. "L'Etat et le patrimoine photographique : des collectes aléatoires aux politiques spécifiques, les enrichissements des collections publiques et leur rôle dans la valorisation du statut de la photographie : France, seconde moitié du XXe siècle." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010733.
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En France, après une longue période d'accumulation silencieuse dans les institutions publiques patrimoniales, la photographie fait l'objet de politiques d'enrichissement spécifiques, dans la seconde moitié du XXe siècle, qui influent sur l'évolution de son statut. Dès la fin des années 1930, les responsables du cabinet des Estampes de la Bibliothèque nationale engagent un processus de réévaluation où le médium photographique est enfin considéré comme objet de collection. S'engage alors un programme d'enrichissement audacieux selon une voie duale, documentaire et artistique, où la Bibliothèque nationale ambitionne de devenir un musée de la photographie, le premier en France. En plus de la photographie documentaire qui reste une priorité, l'intérêt des conservateurs se porte d'une part, sur les grands ensembles de photographies du XIXe siècle en vue d'initier une histoire de la photographie sur le modèle de l'histoire de l'art; et d'autre part, sur les auteurs contemporains. La démarche est pionnière et durable, mais elle n'est pas suffisante pour faire reconnaître la photographie comme un art à l'échelle nationale. Près de quarante ans plus tard, en 1976, le secrétariat aux Affaires culturelles s'empare enfin des questions photographiques, mais les quatre directions ministérielles concernées par la photographie réagissent de manière inégale. Dans un environnement photographique qui évolue vers une orientation culturelle, des collections nationales sont créées à la Fondation nationale de la Photographie à Lyon (FNP), au musée national d'Art moderne (MNAM), au Fonds national d'Art contemporain (FNAC) et au musée d'Orsay; et la photographie est enfin reconnue comme un art. Dans les années 1980, sous l'effet conjugué du «Mois de la Photo» de la Ville de Paris et de la politique en faveur de l'art contemporain développée par le ministère de Jack Lang, un des événements artistiques majeurs de la fin du XXe siècle prend forme : la photographie entre dans le champ des arts plastiques<br>Photography in France, after a long period of silent accumulation in public cultural institutions, became the object of specific collecting in the second half of the twentieth century. This had a bearing on its status. From the late 1930s onwards, curators in the print cabinet of the Bibliothèque Nationale in a process of re-evaluation at last came to consider the photograph as an object for collection. They set out therefore on a daring collection program with a double focus: documentation and artistic quality. With this the BN declared its ambition to become the leading museum of photography in France. Alongside documentary photographs, which remain a priority, conservatorial interest centered on both large groups of 19th century photographs intended to inaugurate a history of photography modeled on art history, and on contemporary creators. This was a pioneering, and durable approach, but insufficient for a recognition of photography as a national art. Some forty years later, in 1976, the secretariat of Cultural Affairs took over questions concerning photography. But the four ministerial branches concerned by photography reacted in an unequal manner. In a photographic environment evolving towards a cultural orientation, national collections were initiated at the Fondation National de la Photographie, Lyon (FNP), in the Musée National de I' Art Contemporain (MNAM), at the Fonds National d'Art Contemporain (FNAC) and at the Musée d'Orsay. At last photography was recognized as an art. During the 1980s, thanks to the combined effect of the City of Paris, 'Month of the photo', and the favorable policy towards contemporary art of Jack Lang's ministry, one of the major artistic events of the late 20th century took place: photography entered the realm of the plastic arts
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Souza, Tálisson Melo de. "18ª e 19ª bienais de São Paulo: curadoria entre a prática e o debate no Brasil." Universidade Federal de Juiz de Fora, 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/84.
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Previous issue date: 2015-03-05<br>A partir do contexto de emergência e consolidação da atividade do curador de exposições
de arte contemporânea na esfera artística internacional, esta análise direciona-se a duas
edições da Bienal de São Paulo (as 18ª e 19ª, promovidas em 1985 e 1987,
respectivamente) para compreender as condições e desdobramentos dessa profissão no
Brasil. As curadorias da crítica de arte Sheila Leirner são estudadas aqui em sua
singularidade e em relação com diversas exposições realizadas em instituições
congêneres. Colocamos em perspectiva a historiografia já estabelecida acerca dessas duas
propostas curatoriais (“O Homem e a Vida” e “Utopia versus Realidade”), e
esquadrinhamos o debate crítico suscitado por elas dentro e fora do país. Seleções de
obras artísticas e artistas, expografia, discurso teórico e poder de legitimação são
articulados com a trajetória crítica da curadora e as transformações nas políticas públicas
para a cultura e no status das instituições culturais na década de 1980, em diálogo com a
os processos de globalização da arte e redemocratização política no Brasil.<br>From the context of emergency and consolidation of the curator’s activity of organizing
contemporary art exhibitions in the international artistic sphere, this analysis focuses on
two editions of the Sao Paulo Art Biennial (the 18th and 19th ones, promoted in 1985 and
1987, respectively) to understand the conditions and consequences of this profession in
Brazil. Here we study the curatorial projects of the art critic Sheila Leirner in its
uniqueness and in relation to other events held in similar institutions. Questioning the
approach already established by the Brazilian historiography about these two curatorial
proposals ("Man and Life" and "Utopia vs. Reality"), this research scrutinizes the critical
debate raised by them within and outside the country. We also link selections of art works
and artists, expography, theoretical discourse and legitimation power to Leirner’s critic
production and the transformations in public policy for culture and cultural institutions
status during the 1980s, connecting them to the processes of globalization of art and
political redemocratization in Brazil.
Books on the topic "Polish contemporary art"
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Dzikowska, Elżbieta. Polacy w sztuce świata: 50 wybitnych artystów sztuki współczesnej = Polish artists on the world arts scene : 50 outstanding contemporary artists. Rosikon press, 2001.
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Wróblewska, Danuta. Polish contemporary graphic art: Studio graphics, the poster, book design, press design. Interpress, 1988.
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Althamer, Paweł. Pawel Althamer: The Vincent van Gogh bi-annual award for contemporary art in Europe, 2004. Hatje Cantz, 2004.
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Hermansdorfer, Mariusz. Między ekspresją a metaforą: [kolekcja sztuki współczesnej Muzeum Narodowego we Wrocławiu] = Between expression and metaphor : [contemporary art collection of the National Museum in Wrocłlaw]. Muzeum Narodowe we Wrocławiu, 1999.
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Krakowie, Muzeum Narodowe w. Polska sztuka wspólczesna z Kolekcji Muzeum Narodowego w Krakowie: Contemporary Polish art in the collection of the National Museum in Krakow. Museum Narodowego w Krakowie, 2011.
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Wrocławiu, Muzeum Narodowe we, and Poland. Ministerstwo Kultury i Dziedzictwa Narodowego, eds. Kolekcja polskiej sztuki wspólczesnej Museum Narodowego we Wroclawiu =: Polish contemporary art in the collection of the National Museum of Wroclaw. Muzeum Narodowe we Wroclawiu, 2010.
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Biennale Plakatu Polskiego (18th 2003 Katowice, Poland). 18 Biennale Plakatu Polskiego, Katowice 2003: Galeria Sztuki Współczesnej BWA : grudzień 2003 = 18 Biennial of the Polish Poster, Katowice 2003 : BWA Contemporary Art Gallery : December 2003. Galeria Sztuki Współczesnej BWA w Katowicach, 2003.
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Art, Yuri Stepanov Fine. Auction of Soviet & Polish contemporary art, on behalf of SENSE in the City Appeal, with Albatross Fine Arts. Edited by Edmonds Gwen, Albatross Fine Arts, and Sense (Organisation). Yuri Stepanov Fine Art, 1990.
Find full textBook chapters on the topic "Polish contemporary art"
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Kutis, Barbara. "Superwoman, Supermother, or Polish Mother? Elżbieta Jabłońska’s Artistic Negotiation of Motherhood." In Artist-Parents in Contemporary Art. Routledge, 2020. http://dx.doi.org/10.4324/9780429467981-3.
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Solimano, Andrés. "Synthesis and public policy issues." In The Evolution of Contemporary Arts Markets. Routledge, 2021. http://dx.doi.org/10.4324/9781003215127-8.
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Miłobędzki, Paweł. "Are Major Currencies Hedges or Safe Havens for Polish Stocks and Bonds?" In Contemporary Trends and Challenges in Finance. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54885-2_5.
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Lindsey, David E. "Understanding the Basics from a Contemporary Perspective." In A Century of Monetary Policy at the Fed. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1007/978-1-137-57859-4_5.
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Mackerras, Colin. "Performing arts policy in the history of China since Mao Zedong." In The Performing Arts In Contemporary China. Routledge, 2022. http://dx.doi.org/10.4324/9781003169970-2.
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Krause, Joachim. "What Are the Tasks Facing the German Defense Policy?" In Contemporary Issues in International Security and Strategic Studies. V&R unipress, 2017. http://dx.doi.org/10.14220/9783737007627.213.
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Le Moulec, Jean-Baptiste. "A Turkish Epistemic Community: Sociology of a Foreign Policy Brainstorming." In Contemporary Turkey at a Glance II. Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-16021-0_9.
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Widyaevan, Dea Aulia. "Architecture and Narrative: Design Approach on Contemporary Balinese Architecture on Yoka Sara’s Work." In Proceedings of the 6th International Conference of Arte-Polis. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5481-5_25.
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Karşıyaka, Birce Altıok, and Sinan Karşıyaka. "Recalibrating Turkish Foreign Policy After the Arab Uprisings: From Pro-activism to Uncertainty by Easing Off Ideational and Liberal Goals." In Contemporary Turkey at a Glance II. Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-16021-0_10.
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Murray, Sarah, and Princess Allotey. "The Contemporary Relevance of Comparative Education in Primary Mathematics." In Primary Mathematics Pedagogy at the Intersection of Education Reform, Policy, and Culture. Routledge, 2021. http://dx.doi.org/10.4324/9781003172468-1.
Full textConference papers on the topic "Polish contemporary art"
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Bartl, Jan, and Miroslav Hain. "Infrared investigation of works of art." In Eleventh Slovak-Czech-Polish Optical Conference on Wave and Quantum Aspects of Contemporary Optics, edited by Miroslav Hrabovsky, Anton Strba, and Waclaw Urbanczyk. SPIE, 1999. http://dx.doi.org/10.1117/12.353098.
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Gronostajska, Barbara. "ARCHETYPE OF A DETACHED HOUSE IN CONTEMPORARY POLISH ARCHITECTURE." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s17.045.
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Urbanska, Marta. "POLISH CONTEMPORARY ARCHITECTURE VS. CULTURAL HERITAGE - 21ST CENTURY PRESERVATION THROUGH SUBDUED CREATION." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s15.036.
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Przybysz-Zaremba, Malgorzata. "VALUES APPRECIATED BY CONTEMPORARY YOUTH - BASED ON RESEARCH CONDUCTED AMONG POLISH-LITHUANIAN YOUTH." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/3.4/s13.115.
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Chirikhin, Sergey. "ON THE INFLUENCE OF CONTEMPORARY COMPETITIVE POLICY ON THE INNOVATIVE ECONOMIC DEVELOPMENT." In 5th International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/1.4/s04.078.
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Bracanović, Slobodan N. "SOME FACTORS OF CONTEMPORARY FINANCIAL BUSINESS OPERATIONS." In Sixth International Scientific-Business Conference LIMEN Leadership, Innovation, Management and Economics: Integrated Politics of Research. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/limen.2020.207.
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Contemporary forms of funding business entities are developed. Financial instruments of the capital market are built. Optimal financial strategies and tactical-operational activities are a necessity. Financial managerial management and decision-making structures are of special significance. Financial capital is dominant in contemporary conditions. A credit-monetary policy is an important economic policy system.
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Karabanova, I. V., and М. А. Karabanova. "CONTEMPORARY STATE OF EDUCATIONAL SYSTEM." In Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/50.
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The current state of preschool, general, secondary vocational, and higher education in Russia are considered. The actual directions on the implementation of state policy in the educational field were determined for each level. A system of measures in the educational field is proposed. It will make Russian education competitive in the international market of educational services.
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Li, Jun, and Jian Wei. "Polish Vocational and Adult Education: Status Quo, Dilemma and Way Out." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.191.
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Ciot, Melania-Gabriela. "CHANGES IN CONTEMPORARY INTERNATIONAL SYSTEM: THE ROLE OF IDIOSYNCRASIES IN FOREIGN POLICY DECISION MAKING." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/hb11/s12.107.
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Li, Jinling, and Shuangqing Hou. "Development Pattern of Traditional Chinese Arts and Crafts under the Reform and Opening up Policy (1988~1998)." In 2015 International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.74.
Full textReports on the topic "Polish contemporary art"
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Gupte, Jaideep, and Saba Aslam. Decentralised Cooperation and Local Government: Addressing Contemporary Global Challenges. Institute of Development Studies (IDS), 2022. http://dx.doi.org/10.19088/ids.2022.002.
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At the start of the last decade, United Cities and Local Governments’ (UCLG) policy paper on Decentralised Cooperation and Local Government laid out a clear rationale for decentralised cooperation and set out recommendations to the prevalent tackle weaknesses of international development cooperation and to strengthen development effectiveness. In many ways, the paper was a forerunner in calling for stronger sustained support for South-South development cooperation particularly among countries that have undergone similar socio-economic challenges so that learnings can be shared across partners. It laid emphasis on professional structures and programme-based approaches, with clear monitoring and evaluation tools and indicators on impact and called for a sharing of objectives across local and regional governments, and their associations, committed to continuing improvement, learning and exchange. These recommendations have helped strengthen international decentralised cooperation over the past decade, and their core principles continue to be highly relevant today. In 2021, the Institute of Development Studies, UK, with support of the UCLG Capacity and Institution Building Working Group (CIB), has engaged a wide range of member governments, associations, and networks, alongside a range of external commentators and experts, to assess UCLG principles, priorities, and actions in the context of contemporary global challenges and the resulting landscape of decentralised development cooperation. Following a series of survey-based, individual, case study, and workshop interactions, the study presents key points and recommendations.
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Jacobson, Jodi. Family, Gender, and Population Policy: Views from the Middle East. Population Council, 1994. http://dx.doi.org/10.31899/pgy1994.1005.
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This paper explores the relevance of international debates to the realities of the Middle East, an important but understudied region that has often been subject to stereotyping. The region’s wealth of traditions and diverse contemporary experience offer insights to those who venture beyond the surface appearance. This paper provides a broad introduction to the connections between family, gender, and population policy in the Middle East. It is based on studies by a diverse group of Middle East scholars and the discussions they generated in Cairo at an international symposium sponsored by the Population Council in February 1994. The paper was written prior to the historic UN International Conference on Population and Development in Egypt, in the hope both of increasing understanding of an important region of the world and refining our grasp of international issues.
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Avis, William. Incorporating Gender Perspective in Peace Operations since 2018. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/k4d.2021.143.
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This rapid literature review collates evidence from academic, policy focussed and grey literature on progress on incorporating gender perspectives in peace operations since 2018, including the deployment of female peacekeepers, and the emerging issues in this field. Key messages that emerge from this review include: The focus on women’s participation in peace processes has led to several initiatives and efforts to promote increased representation, the multidimensional nature of the UN’s women, peace, and security (WPS) agenda is illustrative of the complexity of contemporary peace operations. The new and emergent issues in National Action Plans (NAP) on Women, Peace and Security. Critiques of Resolution 1325 suggest that while the resolution provides some examples of what a gender perspective means in the context of a peace agreement, it does not define what it means to apply a gender perspective to peace processes. Gender perspectives are largely absent from peace negotiations. Despite the evolution of this agenda, most contemporary peace processes are still top-down, elite-driven exercises that contribute to marginalisation and exclusion. Whilst there is high-level commitment towards the strategy and what it aims to achieve, institutional barriers, assumptions, and politics undermine its implementation. Key challenges identified in the literature, related to incorporating Gender Perspectives in Peace Operations include. Buy-in from leadership, Mandate and context, Gender and expertise, Terminology, Under-representation of women in peacekeeping. Meaningful participation, Gap between norms and provisions, and Practical/logistical/training issues in implementing the WPS agenda.
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Lavadenz, Magaly. Masking the Focus on English Learners: The Consequences of California’s Accountability System Dashboard Results on Year 4 Local Control and Accountability Plans (LCAPs). Center for Equity for English Learners, 2018. http://dx.doi.org/10.15365/ceel.lcap2018.1.
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California’s Local Control Funding Formula (LCFF), signed into law in 2013, centers equity as a key to increased and improved services for three targeted student subgroups, including English Learners (ELs), low-income students, and foster youth. As a component of LCFF, districts develop Local Control and Accountability Plans (LCAPs) to specify their goals and strategies for using LCFF funds for equity and continuous improvement purposes. The California Model Five by Five Grid Placement Report (Spring 2017 Dashboard) included the Five by Five Placement Grid, a key function of which is to identify the needs of diverse ELs. The Dashboard and the LCAPs are two policy mechanisms with great promise in combining school finance and accountability reform to promote equity and coherent state-wide. In this report, Lavadenz and colleagues review the EL policy context and examine the connection between the two contemporary policy mechanisms in California, namely the Year 4 LCAP and the California Department of Education’s Accountability Model (Spring 2017 Dashboard). The authors use a sample of 26 California school districts with high numbers/percentages of ELs and conclude that California’s current accountability system diminishes the urgency to respond to educational needs of the English Learner subgroup and undermines the equity intent of the LCFF. Few promising practices and assets-based approaches were identified in the LCAPs, and there is minimal mention of metrics focused on EL outcomes. The authors provide recommendations at state, county office of education and district levels.
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Spitzer, Sonja, Vanessa di Lego, Angela Greulich, and Raya Muttarak. A demographic perspective on human wellbeing: Concepts, measurement and population heterogeneity. Verlag der Österreichischen Akademie der Wissenschaften, 2021. http://dx.doi.org/10.1553/populationyearbook2021.int01.
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This introduction to the 2021 special issue of the Vienna Yearbook of Population Research explores demographic perspectives on human wellbeing across time and space. While the idea of relating demographic parameters to wellbeing has been around for a while, a more concrete research agenda on this topic has only recently gained momentum. Reviewing the research presented in this volume, we show how existing theoretical concepts and methodological tools in demography can be used to make substantial advances in the study of wellbeing. We also touch upon the many challenges researchers face in defining and measuring wellbeing, with the most important debate being about whether the focus should be on objective or subjective measures. The studies discussed here define wellbeing as health and mortality; as income, education or other resources; as happiness or life satisfaction; or as a combination thereof. They cover wellbeing in historical and contemporary populations in high- and low-income countries, and also point out important barriers to research on wellbeing, including the lack of good quality data in many regions. Finally, we highlight the value of considering population heterogeneities when studying wellbeing in order to identify population subgroups who are likely to fall behind, which can have important policy implications.
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Cachalia, Firoz, and Jonathan Klaaren. Digitalisation, the ‘Fourth Industrial Revolution’ and the Constitutional Law of Privacy in South Africa: Towards a public law perspective on constitutional privacy in the era of digitalisation. Digital Pathways at Oxford, 2021. http://dx.doi.org/10.35489/bsg-dp-wp_2021/04.
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In this working paper, our focus is on the constitutional debates and case law regarding the right to privacy, adopting a method that is largely theoretical. In an accompanying separate working paper, A South African Public Law Perspective on Digitalisation in the Health Sector, we employ the analysis developed here and focus on the specific case of digital technologies in the health sector. The topic and task of these papers lie at the confluence of many areas of contemporary society. To demonstrate and apply the argument of this paper, it would be possible and valuable to extend its analysis into any of numerous spheres of social life, from energy to education to policing to child care. In our accompanying separate paper, we focus on only one policy domain – the health sector. Our aim is to demonstrate our argument about the significance of a public law perspective on the constitutional right to privacy in the age of digitalisation, and attend to several issues raised by digitalisation’s impact in the health sector. For the most part, we focus on technologies that have health benefits and privacy costs, but we also recognise that certain technologies have health costs and privacy benefits. We also briefly outline the recent establishment (and subsequent events) in South Africa of a contact tracing database responding to the COVID-19 pandemic – the COVID-19 Tracing Database – a development at the interface of the law enforcement and health sectors. Our main point in this accompanying paper is to demonstrate the value that a constitutional right to privacy can bring to the regulation of digital technologies in a variety of legal frameworks and technological settings – from public to private, and from the law of the constitution to the ‘law’ of computer coding.
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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, 2020. http://dx.doi.org/10.47816/01.001.20.
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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).
8
Family, Gender, and Population Policy: Views from the Middle East [Arabic]. Population Council, 1994. http://dx.doi.org/10.31899/pgy1994.1006.
Full textAbstract:
This paper explores the relevance of international debates to the realities of the Middle East, an important but understudied region that has often been subject to stereotyping. The region’s wealth of traditions and diverse contemporary experience offer insights to those who venture beyond the surface appearance. This paper provides a broad introduction to the connections between family, gender, and population policy in the Middle East. It is based on studies by a diverse group of Middle East scholars and the discussions they generated in Cairo at an international symposium sponsored by the Population Council in February 1994. The paper was written prior to the historic UN International Conference on Population and Development in Egypt, in the hope both of increasing understanding of an important region of the world and refining our grasp of international issues.