Relevant bibliographies by topics / Subversive art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Subversive art'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Subversive art"

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Kramer, Chris A. "Subversive Humor as Art and the Art of Subversive Humor." Philosophy of Humor Yearbook 1, no. 1 (September 1, 2020): 153–80. http://dx.doi.org/10.1515/phhumyb-2020-0012.

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Abstract This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analysed.
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Kernev Štrajn, Jelka. "Ecocriticism as Subversive Aesthetics." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 17. http://dx.doi.org/10.25038/am.v0i20.321.

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Art is subversive when it crosses the boundary of the generally acceptable, though over time such art can and does become mainstream. A much more complicated question is what is subversive in aesthetics? Ecocriticism has already become, along with ecofeminism and animal studies, an academic discipline. It can be defined as subversive if it is understood in terms of an attitude, which is not anthropocentric. And here is the catch: how can the human also encompass the alien? The question that emerges here is all but rhetorical: how can we decentre and amplify our human consciousness and perspective to include zoocentric, biocentric or geocentric positions? At this point the contemporary theory creates contrasting opinions, which cross the boundaries of aesthetics, poetics and ecocriticism since they reach out to the fields of metaphysics and antimetaphysics. Within the phenomenon of perception the other always appears, as Deleuze said in his Logic of Sense, as “a priori Other”. We have to deal, henceforth, with a kind of pre-reflexive level of consciousness and amplified sensory perception, which, as we know, is the basic condition of artistic creation. Thus, this paper – because it seeks to penetrate into the node of these questions – takes literary art as its starting point. In the spirit of the above-mentioned observations, I have attempted to investigate in ‘minority literature’ (female authors of contemporary Polish and Slovene literature) how this decentred attitude, which Jure Detela, a Slovene poet, poetically defined, corresponds to our thesis on a particular ecocritical stream, which can be defined as an ecofeminist aesthetics. The ‘minoritarian literature’ here is meant exclusively in the sense that was defined by Deleuze and Guattari’s books Kafka and A Thousand Plateaus. Article received: April 12, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Kernev Štrajn, Jelka. "Ecocriticism as Subversive Aesthetics." AM Journal of Art and Media Studies 20 (2019): 17-25. doi: 10.25038/am.v0i20.321
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WISEMAN, MARY BITTNER. "Subversive Strategies in Chinese Avant-Garde Art." Journal of Aesthetics and Art Criticism 65, no. 1 (January 2007): 109–19. http://dx.doi.org/10.1111/j.1540-594x.2007.00242.x.

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Gerity, Lani A. "The Subversive Art Therapist: Embracing Cultural Diversity in the Art Room." Art Therapy 17, no. 3 (January 2000): 202–6. http://dx.doi.org/10.1080/07421656.2000.10129704.

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Brand, Peg. "Feminist Art Epistemologies: Understanding Feminist Art." Hypatia 21, no. 3 (2006): 166–89. http://dx.doi.org/10.1111/j.1527-2001.2006.tb01119.x.

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Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art.
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Grogan, Christine. "The Subversive Art of Zelda Fitzgerald by Deborah Pike." Tulsa Studies in Women's Literature 37, no. 1 (2018): 223–25. http://dx.doi.org/10.1353/tsw.2018.0020.

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Myburgh, Albert. "Cathy’s Subversive ‘Black Art’ in Emily Brontë’s Wuthering Heights." English Academy Review 35, no. 1 (January 2, 2018): 61–72. http://dx.doi.org/10.1080/10131752.2018.1474623.

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Cloutier, Geneviève, Awad Ibrahim, and David Pratt. "Subversive identities at the art museum: An ESL university student’s experience at the National Gallery of Canada." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 139. http://dx.doi.org/10.26443/crae.v43i1.22.

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Abstract: Art education became interwoven with cultural mediation when a university-level English language certification class was taken on a field trip to the National Gallery of Canada. This article focuses on one ESL student who locates her subversive identity as she engages with and interprets an artwork in an interview. This student’s memorable, affective, and intimately personal thoughts and feelings, as we shall see, expose the semiotic and pedagogical importance of employing strategies that honour students’ identities and lived experiences. The authors call for more research in what they refer to as ‘critical ESL art museum education’KEYWORDS:Anglais langue étrangère; apprentissage de langue; culture; éducation muséale artistique; identités opposantes; pédagogie; affectif.ESLRésumé: Éducation artistique et médiation culturelle se sont entremêlées lors de la visite au Musée des beaux-arts du Canada d’une classe de certification de langue anglaise de niveau universitaire. Cet article se concentre sur une étudiante d’ALS qui trouve son identité subversive en découvrant et en interprétant une œuvre d’art dans le cadre d’une entrevue. Nous noterons à quel point les pensées et sentiments affectifs, extrêmement personnels et inoubliables de cette étudiante soulignent l’importance sémiotique et pédagogique du recours à des stratégies qui valorisent l’identité et le vécu des étudiants. Les auteurs souhaitent qu’il y ait davantage de recherches menées dans le domaine qu’ils nomment « l’éducation critique en ALS pour les musées des beaux-arts ». MOTS CLES: Language learning; culture; art museum education; subversive identities; pedagogy; affect
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Moran, Ruth Alexandra. "Street appropriation: Subversion as commodity in Dublin." Visual Inquiry 9, no. 1 (September 1, 2020): 27–44. http://dx.doi.org/10.1386/vi_00008_1.

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This article examines the recent intense public interest in Dublin street art collective Subset’s urban painting, which co-opts the language, practices and attitude of graffiti culture as brand narrative, producing a commodity from their portrayal of subversion, which they self-promote on social media. While the career trajectory from vandal or graffiti artist to the established art world is nothing new, what is particularly interesting is how Subset went from an unknown group of art college graduates in early 2017 to their acceptance and recognition by the arts establishment in late 2019. The case of Subset is interesting in terms of the evident cultural cachet of their synthesis of subversive practices and the promotion of their brand in their work, which has proven very popular with the public. As a result, the Subset brand has in turn been co-opted by traditional media, political discourse and the arts establishment.
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Marjanić, Suzana. "The Subversive Icon of Pregnancy in Opposition to the Culture of Fear." Narodna umjetnost 57, no. 1 (June 19, 2020): 197–216. http://dx.doi.org/10.15176/vol57no109.

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This paper problematizes the subversive icon of pregnancy and offers a linear overview of its various iterations in juxtaposition to the culture of fear, starting with Vlasta Delimar, whose installation Pregnancy (Trudnoća, 1987), inscribes her in the feminist and women’s art history of the Yugoslav/Croatian context as the first domestic artist who employed photo-documentation, or photo-performance, to document her own pregnancy. She performed her pregnancy in the manner of a goddess, sexualizing it by means of the Baubo pose. Next, the paper addresses the interpretations of the subversion achieved by the pregnant belly in Sanja Iveković’s work Lady Rosa of Luxembourg (2001). The sequence is further contextualized by the distressing confessional of Martina Križanić, a younger generation artist, who visualized the subversive representation of motherhood (Changing Booths, installation, 2017) from her own perspective and without fear, in the first local exhibition about pregnancy Woman – Pregnant Woman – Mother: Green Spheres and Necropolitics (Žena – trudnica – majka: zelene sfere i nekropolitike, Vladimir Bužančić Gallery, Zagreb 2017, curated by Anita Zlomislić).
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Dissertations / Theses on the topic "Subversive art"

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Hanzalik, Kathryn A. "Subversive Art and Institutional Vulnerability." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/honors_theses/64.

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George Dickie’s Institutional Theory of Art satisfies necessary and sufficient conditions for definition, but by leaving evaluation open cannot address artistic capacities to outstrip the usefulness of the theory for appreciating the concept of art comprehensively or meaningfully. Artworks that are known to members of the central and peripheral artworld seep into the general purview of the population at large as known “great works” of art. Upon examination of works that garner significant cultural influence, works broadly appreciated as great works, we find that their resistance to Dickie’s concept of “the artworld” and its associated behaviors is that which makes them conspicuously significant.
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Lee, Kara. "The Textuality of the Body: Orlan's Performance as Subversive Act." Thesis, Virginia Tech, 2007. http://hdl.handle.net/10919/31365.

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In this paper, I argue that the performance artist Orlan uses feminist tactics of subversion in her presentation of the body as art. I enter the feminist debate over Orlan's work to indicate that the critics who consider the history of performance art produce more fecund discourse. At the same time, I encourage more discussion over the racial dimensions of Orlan's art, which I describe as de-colonizing her body's representation.
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Monico, Francesco. "Outline of a subversive technopoetic : for a libertarian pedartgogy." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3078.

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The thesis explores the relationships between knowledge and knowing in contemporary 21st century information society, using the foundation of the Faculty of Media Design & New Media Art at the Nuova Accademia di Belle Arti in Milano as a research apparatus. This Faculty was established between 2003 and 2012, in Milano, Italy. The starting point of the research was established in the hypothesis that technics have tertiarised memory (Stiegler B., 1994), that knowledge is always founded on an ontological pessimism (Queneau R., 1933, Lyotard F., 1979) and on a perpetual process of the generation of meaning (Gadda C., 1923-29, Foucault M., 1966). Knowledge is always and inevitably linked to the technics with which it is passed on. Pedagogy becomes a questioning of the object of knowledge, which transmutes into a definition of the ways it can be visualised. This research then, setting out from a pessimistic position in relation to knowledge and truth, amplifies them to infinite possible forms and therefore causes a dual shift of philosophy towards art and of pedagogy towards hermeneutics. The methodology consisted of a textual and visual description of a territory in a cartography of meaning, seen as the relation between intuition and the way in which practices as knowledges, arts, form remnants.
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Radley, Emma. "Subversive teaching, resolving the artist teacher dilemma : a study of the merging practices of an artist teacher." Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/510/.

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Jarzebska, Aneta. "Transgressing the borders of gallery space : subversive practices of alternative art galleries in East Germany and Poland of the 1970s." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/transgressing-the-borders-of-gallery-space-subversive-practices-of-alternative-art-galleries-in-east-germany-and-poland-of-the-1970s(80cbed0c-10b9-4211-9ad2-3a0e19f94a30).html.

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This thesis constitutes the first comparative study of the phenomenon of alternative art galleries functioning during the 1970s in two neighbouring state socialist regimes, namely, the German Democratic Republic and the People's Republic of Poland. Firmly contextualised in the cultural-political climate of Honecker's and Gierek's quasi-liberalisation, it examines the socio-cultural function of non-conformist exhibition spaces and focuses, specifically, on two case studies: Galerie Arkade in East Berlin and Galeria/Repassage in Warsaw. By looking at a wide variety of practices produced in those spaces, this thesis investigates the commonalities and differences in how the galleries operated and how they related to the divergent post-Stalinist conditions. For instance, due to more repressive cultural-politics in the GDR, it proved more difficult to accommodate experimental practices in Arkade, since even exhibiting abstract art was problematic for the East German officials. Conversely, in Poland Gierek's liberalisation resulted in the state's limited acceptance of radical artistic practices such as performance and conceptual art but only in the marginal spaces of artist-run galleries. Despite their alternative status, the galleries were, to a certain degree, dependent administratively and financially on these socialist institutions and were at the same time exposed to surveillance by the state security services. These aspects of galleries' activities are often neglected and so to remedy this lack this thesis offers new perspectives on and insights into various aspects of the functioning of alternative culture in this region. The originality of this research lies also in its references to new archival material which has not been published, nor interpreted before. The interpretation of these rich primary sources makes use of a new theoretical framework that combines Michel Foucault's theory of heterotopia in a macro-level analysis and Henri Lefebvre's ideas on the social production of space in a micro-level analysis. In particular, the galleries' histories are seen in this thesis as intertwined with the advancing process of disintegration of state socialism in the Eastern Bloc as this was perceptible to varying degree in different socialist states. Accordingly, it argues that the galleries were symptomatic of and, simultaneously, contributed through various practices to the 'post-socialist condition'.
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Macias-Gutierrez, Elizabeth. "Traumagical realism and the re-creation process : subversive commun(e)ication of the traumatic in theatre and performance." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/9974.

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This thesis approaches 'trauma' in theatre and performance from the perspective of communication studies. Since 'trauma' is an unspeakable and unrepresentable inner state, I thus conceptualize the term 'the traumatic/spectrum' to refer to layers of reality, meaning and experience that can be expressed, represented and/or spoken about in relation to a traumatizing encounter. Through practice-led research, I propose a multi-sensorial devising tool for theatre & performance makers primarily, and artists of all disciplines, to facilitate a performance process for individuals who have walked through a traumatic or post-traumatic journey ('journeyers'), and have a desire, need or purpose to communicate to an audience. Based on a syncretism in journalism, ethnography, psychology, and art therapy techniques, this methodology draws out the form and the content through which individuals desire to communicate about their experiences. Conceptualized here as the re-creation process, this methodology tackles different types of communication predicaments or 'distance' between audiences and 'journeyers' when addressing the traumatic, including: disbelief, voyeurism or sensationalism, and the tendency to habituate, fatigue, de-sensitize, avoid, avert and/or alienate from the traumatic and those who journey with this reality. In response, I endorse the interrelation of two aesthetic manifestations that can 'bridge' different types of psychological, emotional, sociocultural and physical 'distance': one is a realm of theatre & performance which renders semantic and somatic forms of expression indivisible, and the other is Magical Realism. These aesthetics are applied as channels and strategies to engage participants in a meaningful, empowering, and pleasurable 'shared' experience beyond the therapeutic. Finally, I propose the term traumagical realism to further identify and explore the parallels between Magical Realism and the traumatic. Traumagical Realism is a liminal territory that can offer a deeper understanding of the traumatic, and catalyze a social, aesthetic and affective force of engagement or 'commun(e)ication' between 'journeyers' and all participants involved in the devising process and culmination of a performance.
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Mayr, Helen-Sophie. "Curating the Subversive : Illegal Graffiti in Urban Space on the Example of Berlin and how to Approach it Curatorially." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-192116.

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Within curatorial practice, graffiti has come to little attention. On the occasion of the street art hype during the 2000s, graffiti appeared only as a minor component. Considering, that graffiti remains an undefined and mostly illegal and uninstitutionalized practice, the fact that it is not a common exhibition topic seems self-evident. However, graffiti is a globally and publicly present form of visual output and communication which upon closer look reveals conceptual depth and complexity. Therefore, this thesis investigates illegal graffiti in urban space and the possibility of curatorial approaches. Using the theoretical framework of Henri Lefebvre’s writings on the city, graffiti in urban space is conceptualized and analyzed. Possible readings and understandings of graffiti are highlighted. On the basis of such, past curatorial practices with and research on graffiti are outlined and discussed. Finally, the thesis aims to establish an understanding of graffiti as an institution of its own. For a productive curatorial approach to graffiti, an awareness of that division is considered crucial.
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Freytag, Sylvie. "Art et politique en Autriche : l'impact des oeuvres d'Alfred Hrdlicka, de Friedenreich Hundertwasser, de Günter Brus et de Valie Export sur l'Autriche de la Seconde République." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC007/document.

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La recherche porte sur les relations entre les acteurs politiques et l’art subversif et leur positionnement face à des thèmes récurrents tels l’antisémitisme, l’oubli du passé, la condition de la femme, l’écologie. Partant des théories existantes sur les rapports entre l’art engagé et le politique, il s’agit d’étudier les œuvres de quatre artistes représentatifs à la fois de l’évolution des positions politiques et des techniques nouvelles à travers l’histoire de 1945 à nos jours, dans la IIe République d’Autriche : le sculpteur Alfred Hrdlicka, le peintre et architecte Friedensreich Hundertwasser, l’actionniste viennois Günter Brus, la féministe Valie Export. Ces artistes bousculent l’ordre établi à travers leur art agressif et leurs écrits. Le but est de définir la nature et le degré de leur protestation et de déterminer dans quelle mesure ils ont participé au débat démocratique et à la modernisation de la société autrichienne ainsi qu’à la construction identitaire de l’Autriche après 1945
The research relates to the relation between the political actors and subversive art and their respective position on dominant themes such as anti-Semitism, the denial of the Nazi past, the status of women, ecology. From existing theories on relations between engaged art and politics, it is a question of studying the works of art of four artists representative on both policy statements and newer technologies through history from 1945 up to now, in the Second Republic of Austria : the sculptor Alfred Hrdlicka, the painter and architect Friedensreich Hundertwasser, the Viennese actionist Günter Brus, the feminist Valie Export. Each one, in his own way, shakes up the established order through his aggressive art and writings. The aim is to specify the type and level of protest of these artists and to assess to what extent they have participated in the democratic debate and modernisation within Austrian society as well as in the identity building of Austria after 1945
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Narauskaitė, Gintarė. "Subversyvus queer teorijos žvilgsnis: homoseksualaus vyriškumo reprezentacija Gintaro Varno spektakliuose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130613_162218-22294.

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Lietuvos teatre įsivyravęs hegemoninis heteroseksualus vyriškumas dominuoja didžiojoje dalyje Lietuvos spektaklių. Tuo tarpu homoseksualūs vyrai reprezentuojami sporadiškai, dažnai jiems suteikiamos neigiamos konotacijos, jie tampa parodijiniais spektaklio elementais. Tačiau jau galima prabilti ir apie kitoniškus gėjų vaizdinius Lietuvos teatre, kadangi homoseksualaus vyriškumo tematiką vis aktyviau plėtoja režisierius Gintaras Varnas. Nepaisant ryškėjančio dėmesio netradiciniam vyriškumui Lietuvos scenoje, moksliniame teatrologiniame diskurse ši tema nėra aktyviai analizuojama. Taigi šiame darbe siekiama ne tik atkreipti dėmesį į gėjų reprezentaciją Lietuvos scenoje, bet homoseksualaus vyriškumo vaizdinius ir problematiką išanalizuoti pasitelkiant reikšmingą, XX a. JAV suklestėjusią queer teoriją. Darbe pristatomos queer teorijos susiformavimo aplinkybės ir įtakos, išryškinamos svarbiausios queer teorijos tezės. Tačiau svarbiausias dėmesys skiriamas subversyviam queer teorijos žvilgsniui, kuris įveiksmina heteronormatyvumo dekonstrukciją per šeimos, santuokos institucijų transformacijas heteronormatyvumo sistemoje. Parodoma kokią destabilizuojančią ir asimiliacinę galią formuoja heteroseksualumo simbolių mimikrija. Queer teorija, kvestionuodama heteronormatyvumo konvencionalumą, taip pat atskleidžia kokia stereotipizuojanti galia įveiksminama gėjų bendruomenėse. Pasitelkiant šias teorines subversyvumo tendencijas, analizuojami keturi režisieriaus Gintaro Varno spektakliai... [toliau žr. visą tekstą]
A hegemonic heterosexual manhood is dominant in most of the Lithuanian theatre plays. Meanwhile, the homosexual relationships between men are represented in a sporadic manner and often get negative connotation, as well as, become an element of parody. However, today it is possible to start analysing different images of gays since the theme of homosexual males is being developed intensively by a director Gintaras Varnas. Despite the increasing attention towards the untraditional manhood in the Lithuanian theatre, this subject is not actively analysed in a scientific theatrological discourse. Therefore, this research tries to emphasize the representation of gays in the Lithuanian plays and in order to analyse the homosexual male images and problems it is useful to use the queer theory, which bloomed in the 20th century in the USA. The factors of the development and the origin of the queer theory and the most important theses are presented in this research. Nevertheless, the focus is placed to the subversive aspect of the queer theory, which enables the deconstruction of heteronormativity through the transformations of family and marriage in the system of heteronormativity. The research shows destabilizing and assimilative power, which forms the mimicry of the heterosexual symbols. The queer theory questions the conventionality of heteronormativity and reveals, which stereotypical power is applied in the gay communities. Four plays by Gintaras Varnas (‘Publika’, 1997, ‘Tolima... [to full text]
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Hardouin, Elodie. "Représentations subversives des identités de genre dans l’oeuvre de femmes cinéastes argentines (1973-2010)." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20047.

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Dans les années soixante, s'opère une révolution esthétique dans le cinéma argentin et ibéro­ américain aboutissant à l'avènement des Nouveaux Cinémas Latine-américains. Ces bouleversements artistiques influencent la nouvelle génération de cinéastes qui impulse dès 1995 un renouveau de la cinématographie nationale à travers le Nouveau Cinéma Argentin. Cette étude resitue l'intégration des réalisatrices dans les cinématographies ibéro-américaines depuis le début du vingtième siècle en insistant sur ces deux temps forts de 1'Histoire du cinéma. Ce travail analyse les apports thématiques et esthétiques des films de cinq réalisatrices argentines contemporaines . Ces longs-métrages donnent à voir des représentations subversives des identités de genre à l'écran
In the sixties' the aesthetic revolution in Argentinian and Ibero-American Film led to the advent of New Latino-American Films. This artistic breakthrough irtfluenced the new generation of filmmakers who will be as soon as 1995 at the origin of the renewal of national cinematograph y through New Argentini an Films. This study deals with the integration of female filmmakers in Ibero-American Cinematography since the beginning of the twentieth century insisting on these two highlights of the history of cinema. This work is an analysis of the thematic and aesthetic contribution of five contemporary Argentinian female film producers. Their feature films offer subversive representations of gender identity on screen
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Books on the topic "Subversive art"

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Subversive strategies in contemporary Chinese art. Leiden: Brill, 2011.

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Aiko, Iida, and Martin Lesley A, eds. Full vinyl: The subversive art of designer toys. New York, NY: Collins Design, 2006.

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Lloyd, Mark. The art of military deception. London: L. Cooper, 1997.

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Lloyd, Mark. The art of military deception. New Delhi: Bookmart Publishers, 1999.

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editor, Dózsai Mónika, Kliems Alfrun 1969 editor, Polakova Darina editor, and Schmidt Henrike, eds. Unter der Stadt: Subversive Ästhetiken in Ostmitteleuropa. Köln: Böhlau Verlag, 2014.

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Subversive expectations: Performance art and paratheater in New York, 1976-85. Ann Arbor, MI: University of Michigan Press, 1998.

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Wiebe, Henry. Art, myth, religion, and ritual: The subversive artist : invoking archetypal roots. Kitchener, Ont: Evenstone Press, 1998.

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The subversive stitch: Embroidery and the making of the feminine. London: I. B. Taurisr, 2010.

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Parker, Rozsika. The subversive stitch: Embroidery and the making of the feminine. London: Women's Press, 1996.

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Parker, Rozsika. The subversive stitch: Embroidery and the making of the feminine. New York: Routledge, 1989.

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Book chapters on the topic "Subversive art"

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Aguirre, Federico. "Subversive Art and Secularization in the North of Chile." In Encyclopedia of Latin American Religions, 1508–13. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-27078-4_572.

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Aguirre, Federico. "Subversive Art and Secularization in the North of Chile." In Encyclopedia of Latin American Religions, 1–5. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-08956-0_572-1.

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Gabowitsch, Mischa. "Are copycats subversive?" In Cultural Forms of Protest in Russia, 68–89. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315665610-5.

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Sandberg, Russell. "We Are all Legal Historians Now." In Subversive Legal History, 198–224. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429200618-8.

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Oberstebrink, Christina. "Gillray and Royalty. The Politics of High and Low in Eighteenth-Century Art." In Loyal Subversion?, 52–68. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666301674.52.

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Dunn, Heather E. "Subversion of Surveillance." In Social Practice Art in Turbulent Times, 74–85. New York : Routledge, 2019. | Series: Routledge research in art and politics: Routledge, 2019. http://dx.doi.org/10.4324/9780429450167-7.

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Haedicke, Susan C. "Subversive Imaginaries: Performing the Other." In Contemporary Street Arts in Europe, 125–48. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137291837_6.

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Schäfer, Elisabeth. "Dora with Medusa: Is Hysterical Writing a Subversive Revolution?" In Hysterical Methodologies in the Arts, 339–55. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-66360-5_16.

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Mumm, John B., and Martin Oft. "Subversion and Coercion: The Art of Redirecting Tumor Immune Surveillance." In Current Topics in Microbiology and Immunology, 25–39. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/82_2010_47.

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"Subversive Alliances:." In Beyond Representation in Contemporary Caribbean Art, 127–62. Rutgers University Press, 2019. http://dx.doi.org/10.2307/j.ctvscxqwg.9.

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Conference papers on the topic "Subversive art"

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Ma, Wangyan, and Peng Yu. "Traditional Rebel, Ecological Singer- On Lawrence's poem: The subversion of the traditional image of qSnakeq of the western literature." In 2016 International Conference on Advances in Management, Arts and Humanities Science (AMAHS 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/amahs-16.2016.7.

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zhu, qiang. "Subversion and Reconstruction: "Cultural Feedback" in the Information Society - The Empirical Study of China's Urban Youth Life." In ISIS Summit Vienna 2015—The Information Society at the Crossroads. Basel, Switzerland: MDPI, 2015. http://dx.doi.org/10.3390/isis-summit-vienna-2015-t1.2005.

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Bretos, Ignacio, Millán Díaz-Foncea, Clara Sarasa, Alla Kristina Lozenko, and Carmen Marcuello. "Social entrepreneurship as a tool for promoting critical, paradoxical learning in the field of business organization and management: An experiment from the University of Zaragoza." In Sixth International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/head20.2020.10996.

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There is a growing interest in examining subversive interventions by scholars that may involve the production of new subjectivities, the constitution of new organizational models, and the linking of these models with current social movements. This paper presents the case of the Social Economy Lab (LAB_ES), created in the Faculty of Economics and Business of the University of Zaragoza in 2017. In particular, we discuss the main experiences and interventions made from the LAB_ES around three areas of work: (1) the space of collective work; (2) the space of participation for the university community; and (3) the space of collective research. The study reflects the possibilities of including the study of alternative organizations in the education agenda. These organizations are guided by principles that include democracy, equality, emancipation and environmental sustainability. Likewise, the results and interventions of the LAB_ES are discussed not only to foster critical thinking among the students, but also to provide this group with skills for starting up alternative projects of organization and management outside the university. Finally, some key conclusions are drawn about the role of the LAB_ES as a space for collective research and collective production of critical knowledge about business organization and management, through the involvement of different actors.
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DOMÍNGUEZ ESCALONA, DAVID. "EL CUERPO DISCAPACITADO Y LA VERGÜENZA PROMETEICA EN EL ARTE." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4572.

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Aunque el cuerpo humano es considerado un objeto obsoleto en la actualidad, es subestimado aún más cuando sufre una discapacidad. El cuerpo anormal de un discapacitado puede convertirse en objeto de perversas estrategias de marketing, cuyo fin es potenciar el complejo de “envidia prometeica”de la que Günter Anders nos habla, e incitarnos al consumismo. La “vergüenza prometeica” viene a ser el complejo de inferioridad que el hombre tiene respecto a los artefactos que fabrica. No podemos tener el aspecto de los productos seriados. Sin embargo, un discapacitado puede acoplarse prótesis con acabados industriales, pudiendo así adaptarse mejor a los imperativos de las cambiantes modas. El cuerpo incompleto puede convertirse en un expositor de objetos exclusivos de prestigiosas marcas, recordando al resto de mortales "normales" lo que no tienen. Un buen ejemplo es la pierna de cristal Swarovsky de la cantante Viktoria Modesta, prótesis que forma parte del proyecto Alternative limbs de Sophie de Oliveira; o las piernas de cristal que Mathew Barney diseñó para la atleta paraolímpica Amiee Mullins. El arte, puesto al servicio de la medicina y la ingeniería, puede abrir múltiples posibilidades al cuerpo discapacitado. Éste puede ser fetichizado, anulándose el poder subversivo de sus diferencias en nuestra era de la globalización, en la que nuestra vida es cada vez más tecnificada. Como conclusión se proyectará y comentará un vídeo de mi exposición “Para qué quiero pies”, que trata de la contingencia como germen de la creación, del cuerpo accidentado como acontecimiento en el arte. Este proyecto personal, además de visibilizar y poner en valor la discapacidad, incide en la importancia de un cambio educacional en cuanto al cuerpo y nuestra percepción, en la necesidad de espacios que propicien una contemplación, lejos del ruido y del exceso de información con las que nos avasallan los medios de comunicación.http://dx.doi.org/10.4995/ANIAV.2017.4572
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