Literatura académica sobre el tema "Cultural relations – History – Exhibitions"
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Artículos de revistas sobre el tema "Cultural relations – History – Exhibitions"
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Juříčková, Miluše. "Two Art Exhibitions as Dialogic Events in the History of Czech-Norwegian Cultural Relations." AUC PHILOLOGICA 2021, no. 1 (2021): 121–27. http://dx.doi.org/10.14712/24646830.2021.16.
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The article analyses two art exhibitions in the context of Czech-Norwegian relations, presenting both the Czechoslovak book exhibition in Oslo (1937) and the Norwegian painting and applied art exhibition in Prague (1938) as important parts in a bilateral cultural dialogue. The promising initial communication in form of a mutual information exchange was soon disrupted by the beginning of World War II and post-war politics.
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Muñoz, Pedro Felipe, and Stefan Rinke. "Latin America in the global exchange of the German Hygiene Museum in Dresden (1919-1930)." Revista Tempo e Argumento 14, no. 35 (2022): e0104. http://dx.doi.org/10.5965/2175180314352022e0104.
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In 1912, Karl Lingner created the German Hygiene Museum Dresden profiting from the Dresden International Hygiene Exhibition 1911. Lingner aimed to build a permanent building for the museum, but due to the Great War and post-war economic crisis in Germany, the permanent building was not opened until 1930. In the Weimar Republic, the museum circulated internationally through traveling exhibitions and the sale and donation of collections and exhibits. This circulation comprised a global exchange promoting health education that included Latin America. In keeping with German foreign cultural policy of the period, the German Hygiene Museum played an active role in the transatlantic cultural relations and the German-Latin American exchange, functioning as "a cultural propaganda institute". In this article, we explore the transnational circulation of objects and collections between Dresden and Latin America which was also associated with international efforts to promote public health. Keywords: Public Health; Health Education; Cultural Propaganda; German-Latin American Relations; Transnational and Global History.
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Falcucci, Beatrice. "European museology and colonial concord: Italy at the 1934 Expo du Sahara in Paris." Modern Italy 27, no. 3 (2022): 239–58. http://dx.doi.org/10.1017/mit.2022.24.
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AbstractThis article assesses Italy's participation in the Expo du Sahara in Paris in 1934, placing it within the framework of European colonial culture, exhibitions, and international relations during the 1930s. Hitherto, the Expo du Sahara has been largely ignored by historiography, but it offers important insights into Italo-French relations in the years immediately preceding Italy's invasion of Ethiopia, as well as the ways in which Fascist Italy sought national and international legitimacy through the medium of exhibitions. The Paris exhibition, staged by the European powers after years of clashes, was also a physical representation of the so-called ‘colonial concord’ and ‘peaceful’ partition of North Africa, processes in which Italy's role was fundamental.
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Počs, Kārlis. "A VIEW ON THE HISTORY OF LATVIAN-FRENCH CULTURAL RELATIONS BEFORE WORLD WAR II." Via Latgalica, no. 1 (December 31, 2008): 75. http://dx.doi.org/10.17770/latg2008.1.1598.
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Because of the geographic location of the Latvian and the French nations and of different trends in the development of their histories contacts between them were established relatively late. This in turn slowed down the development of their cultural relations. In this development, we can distinguish two stages: before the formation of the Latvian state (from the second half of the 19th century until 1918), and during the Latvian state until the Soviet occupation (1920–1940). The objective of this paper is to determine the place and the role of the Latvian-French cultural relations in the development of the Latvian culture before World War II. For this purpose, archive materials, memoirs, reference materials and available studies were used. For the main part of the research, the retrospective and historico-genetic methods were mostly used. The descriptive method was mainly used for sorting the material before the main analysis. The analysis of the material revealed that the first contacts of the Latvians with French culture were recorded in the second half of the 19th century via fine arts and French literature translated into Latvian. By the end of the century, these relations became more intense, only to decrease again a little in the beginning of the 20th century, especially in the field of translations of the French belles-lettres. The events of 1905 strengthened Latvian political emigration to France. The emigrants became acquainted with French culture directly, and part of them added French culture to their previous knowledge. The outcome of World War I and the revolution in Russia then shaped the ground for the formation of the Latvian state. This dramatically changed the nature and the intensity of the Latvian-French cultural relations. To the early trends in the cooperation, the sphere of education was added, with French schools in Latvia and Latvian students in France. In the sphere of culture, relations in theater, music and arts were established. It should be noted that also an official introduction of the French into Latvian art began at that time. As a matter of fact, such an introduction had already been started by Karlis Huns, Voldemars Matvejs, and Vilhelms Purvitis, who successfully participated in the Paris art exhibitions before the formation of the Latvian state. In the period of the Latvian state, artists would arrange their personal exhibitions in France, and general shows supported by the state would be arranged. The most notable of them were the following: - In 1928, the Latvian Ministry of Education supported the participation of all Latvian artists’ unions in the exhibition dedicated to the 10th anniversary of the state. General shows were organized in Warsaw, Budapest, Copenhagen, Paris, London, etc. (Jaunākās Ziņas, 1928: Nr. 262, 266); - in the summer of 1935, an exhibition of folk art from the Baltic states, including textiles, clothes, paintings, sculptures, and ceramics was opened in Paris; - the largest exhibition of Latvian artists in Paris took place from January 27 to February 28, 1939, with presidents of both states being in charge of its organization. It can be concluded that the Latvian-French cultural relations were an important factor in the development of Latvian culture, especially in the spheres of fine arts and literature until the Soviet occupation.
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Lorenc, Magdalena. "„Obok. Polska – Niemcy. 1000 lat historii w sztuce” jako przykład wystawy politycznej." Przegląd Politologiczny, no. 2 (June 19, 2018): 163–76. http://dx.doi.org/10.14746/pp.2013.18.2.14.
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The objective of the paper is to analyze and assess the institutional conditions of the exhibition entitled Side by Side. Poland – Germany. 1000 years of Art and History, organized in Martin-Gropius-Bau in Berlin between September 23, 2011 and January 9, 2012. In terms of the number of works of art presented this undertaking was unprecedented in the history of Polish- German relations. The exhibition, and the catalogue that accompanied it, were a part of the Cultural Program of the Polish Presidency in the EU Council in 2011, becoming an exemplification of the issue of the politicization of exhibition discourse, where works of art are utilized for political purposes. The theoretical inspiration for considering this topic was provided by Peter Vergo’s concept presented in his text The reticent object of 1987. In Vergo’s opinion, exhibitions are a cultural fact which is relatively rarely investigated in terms of the means, efforts, conditions and reasons that are necessary for their execution. And yet these institutional conditions, including their financing, the procedures for selecting the entities in charge of the project, the mechanisms for appoint the program board and honorary patronage have a considerable influence on the nature of the exhibition. Concentrating on institutional contexts serves the purpose of answering the question of how the realms of politics and art exhibitions permeate one another. The decisions made by the authorities to become involved in certain exhibition projects constitute the instruments for creating and executing selected public policies, primarily cultural policy. It is therefore impossible to assess the success of a given initiative without considering the political objectives set and achieved by the organizers of the exhibition Side by Side.
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Ainutdinov, A. S. "Sverdlovsk Artists at Post-War Art Exhibitions, 1946–1952." Art & Culture Studies, no. 1 (February 2022): 164–95. http://dx.doi.org/10.51678/2226-0072-2022-1-164-195.
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The article is devoted to studying various aspects of the exhibition process in the post-war Sverdlovsk. For the first time in the Ural art history, the art exhibitions that were held after the Great Patriotic War and had works by Sverdlovsk visual artists on display, are named, described, systematized, and classified in one research. The new data sources used in the research uncover the reasons behind the low levels of participation of Sverdlovsk painters, sculptors, and graphic artists in the All-Soviet and national exhibitions in 1946–1952. When performing the research task, the author achieves the main goal: generating new knowledge about the history of Sverdlovsk visual arts of the post-war period and gaining additional factual information on the Soviet art history of the 1940–1950s through the analysis of various sources. Of significant interest to art studies is a wider perspective on the creative activity of Sverdlovsk painters, sculptors, graphic and other artists analyzed against the background of the general organizational objectives of the Sverdlovsk branch of the Artists’ Union of the USSR and the socio-cultural life of the period, which determined the nature of relations between the authorities and the intelligentsia, and artistic connections between different regions of the USSR.
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Хертек, А. С. "Tuva and Mongolia: cooperation in the fine arts." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 116–25. http://dx.doi.org/10.46748/arteuras.2021.03.010.
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Статья посвящена культурным связям между Республикой Тыва и Монголией в связи со 100-летием российско-монгольских дипломатических отношений. Автор приводит обзор ряда фактов из истории тувинского и монгольского изобразительного искусства, совместных выставочных проектов. Так, ключевыми событиями, повлиявшими на творчество мастеров, стали первая крупная выставка тувинских художников и Нади Рушевой в Монгольской Народной Республике в 1984 году, другие выставки в Монголии, Москве и Туве, групповые обменные поездки монгольских и тувинских художников в XX–XXI веках. Важными для сотрудничества стали выставки 2017 года: рисунков Нади Рушевой в Улан-Баторе и восковых фигур «Хаан хаанов» из Музея Чингисхана (Улан-Батор) в Национальном музее имени Алдан-Маадыр Республики Тыва. The article is devoted to the issue of cultural ties between the Republic of Tyva (or Tuva) and Mongolia in view of the 100th anniversary of the Russian-Mongolian diplomatic relations. The author gives an overview of a number of facts from the history of Tuvan and Mongolian fine art, joint exhibition projects. Thus, the key events that influenced the work of the masters were the first large exhibition of Tuvan artists and Nadya Rusheva in the Mongolian People's Republic in 1984, other exhibitions in Mongolia, Moscow and Tuva, group exchange trips of Mongolian and Tuvan artists in the 20th and 21st centuries. Exhibitions of 2017 became important for the development of Tuvan-Mongolian cultural relations: drawings by Nadya Rusheva in Ulaanbaatar and wax figures “Khaan Khaans” from the Genghis Khan Museum (Ulaanbaatar) in the National Museum named after Aldan-Maadyr of the Republic of Tyva.
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Petranský, Ivan A. "Miesto histórie vo vývoji kultúrnych vzťahov medzi Československom a Talianskom v rokoch 1948 – 1989." Kultúrne dejiny 15, no. 1 (2024): 37–58. http://dx.doi.org/10.54937/kd.2024.15.1.37-58.
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The topic of the article is the place of history in the development of cultural relations between Czechoslovakia and Italy between 1948 and 1989. Cultural relations are an inseparable part of bilateral relations between countries, and this is true in the case of the complicated relations between Czechoslovakia and Italy in the period from the rise of the communist regime in Czechoslovakia in 1948 to its demise in 1989. History, in its various forms, also had an indispensable place in these relations. This was due to the general fact that the regime in Czechoslovakia used historical themes and adapted their content as part of its promotional action not only for its own population but also in international relations. It was also due to the specific features of the historical development of the two countries and a number of common features. This paper deals with the wide range of traces that the question of history has left in Czechoslovak-Italian relations. First, it concerns the question of historical scientific research carried out by Slovak and Czech scholars (historians or archivists) in Italy based on a cultural interstate agreement, an agreement between academies of sciences or outside the framework of agreements, and the formal and informal relations between professional historians of both countries. Another aspect examined is the place of historical themes in cultural, popularization and propaganda activities in the form of films, lectures, exhibitions, museums, celebrations.
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Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.
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Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology.
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Ergut, Elvan Altan. "Displaying Abroad: Architecture and Town Planning Exhibitions of Britain in Turkey in the Mid-1940s." New Perspectives on Turkey 50 (2014): 145–70. http://dx.doi.org/10.1017/s0896634600006609.
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AbstractThis paper focuses on two exhibitions of architecture and town planning held by Britain in Turkey in the mid-1940s. The use of these exhibitions for propaganda purposes, as well as their reception in the highly politicized context of World War II, requires the study to emphasize the political as well as the professional perspective of the contemporary architectural context. Analyzing why and how these exhibitions were held, and what they displayed as representative of British architecture and town planning, the paper discusses the characteristics of the contemporary discourses and practices of the profession with reference to the national dynamics of each country and their position in the international scene at the dawn of a new era in world history. The aim is to question the relations of power that are conventionally taken to define discursive and practical hierarchies of binary constructs, such as national/international or traditional/modern. Examining the case of the British exhibitions in Turkey, the paper emphasizes instead the necessity of a comparative analysis to evaluate the architectural products in-between or beyond dichotomies as produced in discrete yet interconnected contexts.
Tesis sobre el tema "Cultural relations – History – Exhibitions"
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Pane, Caroline. "Francia Italia in mostra : les expositions comme observatoires des relations franco-italiennes dans la construction d’une diplomatie culturelle européenne après la Seconde Guerre mondiale." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3092/document.
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S’inscrivant dans le courant historiographique de l’histoire culturelle des relations internationales, cette thèse interroge le rôle des échanges artistiques dans les relations diplomatiques franco-italiennes, du lendemain de la Seconde Guerre mondiale à la construction européenne. L’analyse des expositions réalisées par les services culturels des Affaires étrangères français et italien, respectivement en Italie et en France, met en évidence les rapports de force et les clés du rapprochement franco-italien après 1945. La reconstruction des identités nationales, leurs représentations et leurs circulations de part et d’autre des Alpes, sont ici interrogées au regard de l’élaboration d’une nouvelle forme de diplomatie culturelle dans l’Europe de la Guerre froide. Nous nous attachons, d’abord, à reconstruire l’héritage des politiques culturelles de l’entre-deux-guerres ainsi que la transformation des institutions, et des discours, de l’avant à l’après-guerre. Puis nous détaillons les expositions « militantes », objets de tensions et de forts enjeux géopolitiques sur la scène internationale de 1944 à 1948. Enfin, nous analysons pendant les années 1950 l’émergence de modèles récurrents et des typologies d’expositions qui répondent au besoin d’équilibre diplomatique poursuivi par les gouvernements français et italien dans la formation de l’Europe culturelle après 1945<br>As part of the current historiography of the cultural studies of international relationships, this thesis questions the role of artistic exchanges in Franco-Italian diplomatic relations, from the aftermath of World War II to the beginnings of European construction. The analysis of exhibitions held by the Cultural Services of the French and Italian Ministries of Foreign Affairs, respectively in Italy and France, highlights the balance of power and the keys to the Franco-Italian reconciliation after 1945. The reconstruction of national identities, their representations and their circulations in both sides of the Alps are questioned in the particular context of the Cold War leading to the rise of a new form of European cultural diplomacy. We focus, firstly, on the modalities of institutional and ideological transition before and after World War II, introducing elements of interruptions and continuities. We then analyze the "militant" exhibitions, main focus of tensions and strong geopolitical issues in the international stage. Finally, we show the emergence of recurring patterns and exhibition typologies which address the need for diplomatic balance pursued by the French and Italian governments in the formation of cultural Europe after 1945<br>Questa tesi si inserisce nel quadro storiografico della Storia culturale delle relazioni internazionali e interroga piùspecificatamente il ruolo degli scambi artistici nelle relazioni diplomatiche italo-francesi, dalla fine della Seconda Guerramondiale agli esordi della costruzione europea. L’analisi delle mostre realizzate dai servizi culturali dei ministeri degli AffariEsteri francese e italiano, rispettivamente in Italia e in Francia, mette in evidenza i giochi di potere e le chiavi dellariconciliazione italo-francese dopo il 1945. La ricostruzione delle identità nazionali, le loro rappresentazioni e le circolazionida una parte all’altra delle Alpi sono qui interrogate in funzione dell’elaborazione di una nuova forma di diplomazia culturalenell’Europa della Guerra fredda. Ci siamo prima impegnati a ricostruire la transizione istituzionale e ideologica dal periodofra le due guerre all’indomani del 1945, mostrandone i punti di rottura e di continuità. Poi, abbiamo esaminato le mostre“militanti”, oggetti di tensioni dai forti accenti geopolitici nello scenario internazionale dal 1944 al 1948. Infine, abbiamoanalizzato il sorgere di modelli ripetitivi e delle tipologie di mostre che rispondono al bisogno di equilibrio diplomaticoperseguito dai governi francese e italiano nell’ambito della formazione di un’Europa culturale dopo il 1945
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Samuelsson, Anna. "I naturens teater : Kultur- och miljösociologiska analyser av naturhistoriska utställningar och filmer." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9336.
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This thesis is a study of constructions of reality in visual and textual representations in current exhibitions in the Swedish Museum of Natural History in Stockholm with comparisons to the Natural History Museum in Gothenburg and minor excursions to other museums. The study also includes seven giant screen films in Cosmonova: an IMAX theatre which is part of the Swedish Museum of Natural History. The study consists of three parts: I. Historical and theoretical contextualisation: The emergence of museums is understood as an aspect of modernity and nature, and analytical concepts from semiotics, deconstruction and discourse analysis are presented and discussed. This part also includes a discussion of anthropomorphism and andropocentric stereotyping and a study of the emergence of the environmental question in society, science, museums and in the disciplines of sociology and cultural studies. II. Empirical analysis: Starting with questions what stories modern exhibitions in museums of natural history tell and how animals, bodies, humans and the environment are represented in the exhibitions and films I discuss different aspects of the dualism of nature and culture in relation to other dualisms such as animal/human, nature/society and ecology/economy. The dualism nature/culture that is expressed in exclusions of conventional signs for human culture is problematic from an environmental perspective. I pose the question of whether or not the marginalized phenomenon of the cabinet of curiosity that combine both “naturalia” and “artificialia” and displays phenomena classified as abnormal, can provide a key to narratives about co-evolution, environmental issues and variations in morphology and behaviour. III. Discussion: The potential for transcending the dualism of nature and culture, both theoretically-and practically-speaking, and particularly in relation to the environmental question, is discussed, as is the possibility that museums can be(come) reflexive sub-political arenas for dialogues between politics, science and people.
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Sutherland, Ann. "Art exhibitions in the national interest: Australian cultural diplomacy, 1918 to 1941." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29656.
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Australia’s relationship with the rest of the world was particularly complex in the two decades of acute economic, political, and social crises between World War One and Two. This thesis argues that Australia employed visual arts exhibitions in the national interest within its foreign policy stance to amplify and recruit allies for its response to this complexity and that it did so to both international and domestic audiences. Six visual arts exhibitions between 1918 and 1941 have been selected to illustrate this transactional Australian cultural diplomacy within the decline of the European empires, the establishment of the League of Nations in 1920 and the rise of American power after 1930. The thesis opens with the nation a member of the British War Office in 1918 and ends with Australia a member of the Pacific War Council which formed in Washington DC in 1942.
While post-WWII initiatives in cultural diplomacy have been studied, their antecedents have been rarely noted in either the literature on Australian diplomacy, or within the history of Australian art and its exhibition. This thesis seeks to address this oversight, necessarily doing so from a broad multidisciplinary perspective. The profiled exhibitions are detailed as to their origins and content within their historical backdrop, the politics and the people involved. The thesis argues that visual arts exhibitions established a distinguishing aspect of national projection in the interwar period, one which remains embedded in policy and the public cultural programs of government and the national, state, and regional art galleries.
I draw three principal findings from the presented research. The exhibitions discussed enrich our knowledge of the various ways the nation managed its strategic interests as an internationally aligned nation after 1918. Secondly, it addresses a gap which will continue while the many public actors captured by cultural diplomacy - the participants, their objectives and location, institutional arrangements, and foreign and strategic policy – are investigated in isolation from each other. Finally, my hope is that this thesis will make an original contribution to an understanding of the role of exhibitions within the modernisation and the cosmopolitanising of the nation, including the important contribution of artists and arts institutions, business, and public administrators to those exhibitions in the inter-war period.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Heinonen, Alayna. "CONTESTED SPACES IN LONDON: EXHIBITIONARY REPRESENTATIONS OF INDIA, c. 1886-1951." UKnowledge, 2012. http://uknowledge.uky.edu/history_etds/1.
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Following the first world exhibition, the 1851 Crystal Palace Exhibition in London, exhibitions became routine events across the West that merged both education and entertainment to forward political and economic goals. For the most part scholars have taken the frequency, popularity, and propagandistic efforts of exhibitions at face value, viewing them as successful reassertions of the imperial, industrial, and technological superiority of Western nation-states. Though offering valuable insights into the cultural technologies of imperial rule, these works miss the complexities of imperial projects within specific temporal and geographical contexts.
This manuscript traces the historical dynamics of India at exhibitions held in London during and after imperial rule: the 1886 Colonial and Indian Exhibition, the 1908 Franco-British Exhibition, the 1924-25 British Empire Exhibition, and the 1951 Festival of Britain. In historicizing the exhibitionary administration and display of India over time, this study argues for a more complex reading of exhibitions in which displays invoked a mélange of meanings that destabilized as well as projected imperial hierarchies. It also examines the ways in which Indians administered, evaluated, and contested imperial displays. Rather than seamlessly reinforcing imperial dominance, exhibitions, located within specific historical contexts, emerged as contested, multifaceted, and even ambiguous portrayals of empires.
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Wilburn, Alayna. "IMPERIAL KNOWLEDGE AND CULTURAL DISPLAY: REPRESENTATIONS OF COLONIAL INDIA IN LATE-NINETEENTH AND EARLY-TWENTIETH CENTURY LONDON." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/957.
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Thesis (M.A.)--University of Kentucky, 2008.<br>Title from document title page (viewed on December 11, 2008). Document formatted into pages; contains: vi, 104 p. : ill., maps. Includes abstract and vita. Includes bibliographical references (p. 97-103).
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Richardson, Glenn John. "Anglo-French political and cultural relations during the reign of Henry VIII." Thesis, London School of Economics and Political Science (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309232.
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Fazlioglu, Akin Zulal. "Cultural Policy in Turkey – European Union Relations." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502860978590657.
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McKevitt, Andrew C. "Consuming Japan: Cultural Relations and the Globalizing of America, 1973-1993." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/37645.
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History<br>Ph.D.<br>This dissertation explores the U.S. encounter with Japanese goods in the 1970s and 1980s. It argues that this encounter transformed social and cultural life in the United States by ideologically and materially introducing Americans to their first intense, sustained engagement with the processes of contemporary globalization. The dissertation proceeds thematically, first outlining the ideological transformation of American life. While some groups in the United States interpreted Japan's ascendency to economic supremacy as a threat to U.S. national power, others imagined Japan as the harbinger of of globalized future of economic prosperity and cultural homogeneity. Popular cultural representations of Japan reflected such understandings but also addressed the postmodern nature of the Japanese future, framing it as a borderless future in which Japanese corporations limited American political and economic freedoms. The second half of the dissertation examines the material globalizing of America--the U.S. consumption of Japanese goods like automobiles, VCRs, and Japanese animation (anime). The author argues that the popular image of the U.S.-Japan trade conflict during the 1980s obscures the nuances in the relationship that developed at the local level, where Americans consumed goods that transformed their lives, introducing them to new ways of thinking about the world and interacting with other societies engaged in global economic and cultural exchange.<br>Temple University--Theses
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Chun, Cai. "The foreign relations of the CPC/PRC in Chinese cultural and historical perspective." Thesis, Lancaster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310372.
Texto completoLibros sobre el tema "Cultural relations – History – Exhibitions"
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1940-, Davis James E., National Museum of Natural History (U.S.), and National Council for the Social Studies., eds. Seeds of change: The story of cultural exchange after 1492. Addison-Wesley Pub., 1992.
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Zurfluh, Anselm, and Anna Pakhomova. Russian Switzerland: 1814-2014 : artistic and historical perspectives : 200 years of diplomatic relations = La Suisse par les Russes = Russkai︠a︡ shvetsarii︠a︡. Infolio editions, 2014.
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Paulo, Centro Cultural São, and Arquivo Histórico Judaico Brasileiro, eds. Comunidade judaica em São Paulo: Diálogos nos anos 40 : Centro Cultural São Paulo, de 22 de novembro a 16 de dezembro de 1990 = The Jewish community in São Paulo : dialogues during the forties. Arquivo Histórico Judaico Brasileiro, 1990.
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Hakubutsukan, Sendai-shi. Kokuhō "Keichō ken'ō shisetsu kankei shiryō". Sendai-shi Hakubutsukan, 2001.
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Caterina, Olcese Spingardi, and Galleria d'arte moderna di Genova., eds. Ottocento in salotto: Cultura, vita privata e affari tra Genova e Napoli. Maschietto, 2006.
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Jacobo, Israel Garzón, Macías Kapón Uriel, and Museo de la Ciudad (Madrid, Spain), eds. Los sefardíes del norte de Marruecos, un puente con España: Música, religión y cultura. La Comunidad, 2003.
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Paula, Matta, and Small Press Center (New York, N.Y.), eds. Roots in print: A multicultural exhibit of small press books on ethnic history, culture, customs, and neighborhoods : an exhibition, May 15-June 25, 1992, at the Small Press Center, New York City. The Center, 1992.
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), Italy Ambasciata (U S. Italy INspires US. [Publisher not identified], 2014.
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Peoples on parade: Exhibitions, empire, and anthropology in nineteenth century Britain. The University of Chicago Press, 2011.
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Ishii, Motoaki. Venezia e il Giappone: Studi sugli scambi culturali nella seconda metà dell'Ottocento. Istituto nazionale d'archeologia e storia dell'arte, 2004.
Buscar texto completoCapítulos de libros sobre el tema "Cultural relations – History – Exhibitions"
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Baldacci, Cristina. "Re-Presenting Art History." In Cultural Inquiry. ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_18.
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Can reenactment both as reactivation of images and restaging of exhibitions be considered an alternative way of tackling the critical task to re-present art history (i.e., to present it anew) in the here and now, over and over and over again? The gesture of restoring visibility to something no longer present, reactivating or reembodying it as an object/image in and for the present, is here proposed as a (political) act of restitution and historical recontextualization. Examining the boundaries between past and present, original and copy (as well as originality and copyright), repetition and variation, authenticity and auraticity, presence and absence, canon and appropriation, durée and transience, the paper focuses on remediation, reinterpretation, and reconstruction as creative gestures and cultural promises in contemporary art practice, curatorship, and museology.
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Pickering, Michael. "Relations of Mutual Constitution." In History, Experience and Cultural Studies. Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25951-9_6.
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Clerc, Louis. "Coordinating and Facilitating Bilateral Cultural Contacts." In Palgrave Macmillan Series in Global Public Diplomacy. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-12205-7_4.
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AbstractIn 1970, when Marjatta Oksanen joined the Ministry of Education, the Department of international affairs was divided into three administrative units: multilateral affairs, bilateral affairs (with two different organizations for East and West) and Nordic relations. The Finnish state managed various forms of cultural relations with countries or groups of countries, mostly in a facilitative function: support for exhibitions or concerts, longer-term support for cultural centres or language teaching and so forth. Most of these bilateral activities originated from private initiatives, and some domains like sports, scientific cooperation or relations with the Soviet Union were dominated by private, non-governmental or semi-public organizations that acted on their own or to whom the state devolved certain functions. Generally, only relations with the Soviet Union and technical issues with strong foreign political dimensions commanded a degree of involvement from the Ministry for Foreign Affairs and interest from the country’s higher political leadership.
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Page, Joanna. "6. Taxidermy and Natural History Dioramas." In Decolonial Ecologies. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.06.
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This chapter explores works that engage with the art and science of taxidermy and the construction of dioramas for museums of the late nineteenth and twentieth centuries. While many artists have rejected taxidermy, given its association with cruelty toward animals, some have reclaimed the practice with the purpose of drawing attention to histories of animal objectification or rethinking human/animal relations. Recent recourses to taxidermy among Latin American artists have provided an opportunity to question of the exhibition practices of natural history museums, while exploring alternative ways of thinking about ecology and the environment. The projects I discuss in this chapter by Daniel Malva (Brazil), Adriana Bustos (Argentina), Rodrigo Arteaga (Chile), Walmor Corrêa (Brazil), and Pablo La Padula (Argentina) remediate, recycle or reuse taxidermy animals within new forms of diorama that construct a critical dialogue with Eurocentric conceptions of nature. They create “afterlives” for taxidermy animals that are held in tension between nature and culture or science and popular myth; they also demonstrate how taxidermy may—paradoxically—be deployed to restore animal agency and to create narratives that are less anthropocentric.
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Witcomb, Andrea. "Oral History and First-Person Narratives in Migration Exhibitions: Tracking Relations Between “Us” and “Them”." In Remembering Migration. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17751-5_14.
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Aldous, Christopher. "Masking or Marking Britain’s Decline? The British Council and Cultural Diplomacy in Japan, 1952–1970." In The History of Anglo-Japanese Relations 1600–2000. Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230373600_18.
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Goss, W. M., Claire Hooker, and Ronald D. Ekers. "Pawsey and Philosophy of Science." In Historical & Cultural Astronomy. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-07916-0_33.
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AbstractScientists are mostly not especially reflective on the nature of science itself—or at least not in public. The history, philosophy and sociology (HPS) of science may be of interest, but science is complex and time for contemplation of the enterprise is limited. Pawsey, from the records that remain, was little different. But he had grown up in a family where ideas and values were taken seriously, and in an era that questioned established truths concerning religion, morality, the relations of Empire, the rights of working men (and women), and of course, after WWII, unquestioned loyalty to authorities.
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M’bayo, Tamba. "Chapter 5. Mediating a complex cultural matrix." In Benjamins Translation Library. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/btl.159.05mba.
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The complex cultural matrix within which Muslim interpreters mediated between French colonizers and colonized Africans offers a window through which we see how both unequal relations of power and cultural capital shaped the intercessions of indigenous intermediaries in colonial Senegal. Despite their subordinate position in the French colonial administration, the interpreters held sway over information/knowledge conveyed to their kinfolk, which could influence perceptions about the dynamics of power relations between the French authorities and Africans. Drawing on the mediations of Muslim interpreters in colonial Senegal from 1850 to 1920, this chapter engages broader issues about the provenance of sources, retrieving indigenous voices in historical reconstruction, and producing knowledge and counternarratives in African history.
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Bisanti, Armando. "Chapter 2. Italy." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.02bis.
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This chapter traces a synthetic picture of Latin literature in Italy between the fifth and fourteenth centuries in its relations with political and cultural history. Generally speaking, the development of medieval Latin literature in Italy is examined with reference to literary genres and geographical areas, with particular attention to auctores and their works. Among the most significant authors are Boethius, Cassiodorus, Venantius Fortunatus, Gregory the Great, Paul the Deacon, Liutprand of Cremona, Peter of Eboli, Salimbene, Iacopo da Varazze, Dante, Petrarch and Boccaccio.
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Bisanti, Armando. "Chapter 15. Africa (fifth-sixth century)." In Comparative History of Literatures in European Languages. John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.15bis.
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After a brief introduction on the developments of Latin literature in Roman Africa and the problem of Africitas, this chapter traces a synthetic picture of Latin literature in Africa under the Vandalic domination (fifth-sixth century), in its relations with political and cultural history. The progress of Latin literature in Africa under the Vandals is examined with particular attention to auctores and their works. Among the most significant writers are Dracontius, Fulgentius, Corippus and the poets of the Antologia Latina (especially Luxorius).
Actas de conferencias sobre el tema "Cultural relations – History – Exhibitions"
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Cmeciu, Doina, and Camelia Cmeciu. "VIRTUAL MUSEUMS - NON-FORMAL MEANS OF TEACHING E-CIVILIZATION/CULTURE." In eLSE 2013. Carol I National Defence University Publishing House, 2013. http://dx.doi.org/10.12753/2066-026x-13-108.
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Considered repositories of objects(Cuno 2009), museums have been analysed through the object-oriented policies they mainly focus on. Three main purposes are often mentioned: preservation, dissemination of knowledge and access to tradition. Beyond these informative and cultural-laden functions, museums have also been labeled as theatres of power, the emphasis lying on nation-oriented policies. According to Michael F. Brown (2009: 148), the outcome of this moral standing of the nation-state is a mobilizing public sentiment in favour of the state power. We consider that the constant flow of national and international exhibitions or events that could be hosted in museums has a twofold consequence: on the one hand, a cultural dynamics due to the permanent contact with unknown objects, and on the other hand, some visibility strategies in order to attract visitors. This latter effect actually embodies a shift within the perception of museums from entities of knowledge towards leisure environments. Within this context where the concept of edutainment(Eschach 2007) seems to prevail in the non-formal way of acquiring new knowledge, contemporary virtual museums display visual information without regard to geographic location (Dahmen, Sarraf, 2009). They play ?a central role in making culture accessible to the mass audience(Carrazzino, Bergamasco 2010) by using new technologies and novel interaction paradigms. Our study will aim at analyzing the way in which civilization was e-framed in the virtual project ?A History of the World in 100 Objects, run by BBC Radio 4 and the British Museum in 2010. The British Museum won the 2011 Art Fund Prize for this innovative platform whose main content was created by the contributors (the museums and the members of the public). The chairman of the panel of judges, Michael Portillo, noted that the judges were impressed that the project used digital media in ground-breaking and novel ways to interact with audiences. The two theoretical frameworks used in our analysis are framing theories and critical discourse analysis. ?Schemata of interpretation? (Goffman 1974), frames are used by individuals to make sense of information or an occurrence, providing principles for the organization of social reality? (Hertog & McLeod 2001). Considered cultural structures with central ideas and more peripheral concepts and a set of relations that vary in strength and kind among them? (Hertog, McLeod 2001, p.141), frames rely on the selection of some aspects of a perceived reality which are made more salient in a communicating text or e-text. We will interpret this virtual museum as a hypertext which ?makes possible the assembly, retrieval, display and manipulation? (Kok 2004) of objects belonging to different cultures. The structural analysis of the virtual museum as a hypertext will focus on three orders of abstraction (Kok 2004): item, lexia, and cluster. Dividing civilization into 20 periods of time, from making us human (2,000,000 - 9000 BC) up to the world of our making (1914 - 2010 AD), the creators of the digital museum used 100 objects to make sense of the cultural realities which dominated our civilization. The History of the World in 100 Objects used images of these objects which can be considered ?as ideological and as power-laden as word (Jewitt 2008). Closely related to identities, ideologies embed those elements which provide a group legitimation, identification and cohesion. In our analysis of the 100 virtual objects framing e-civilization we will use the six categories which supply the structure of ideologies in the critical discourse analysis framework (van Dijk 2000: 69): membership, activities, goals, values/norms, position (group-relations), resources. The research questions will focus on the content of this digital museum: (1) the types of objects belonging to the 20 periods of e-civilization; (2) the salience of countries of origin for the 100 objects; (3) the salience of social practices framed in the non-formal teaching of e-civilization/culture; and on the visitors? response: (1) the types of attitudes expressed in the forum comments; (2) the types of messages visitors decoded from the analysis of the objects; (3) the (creative) value of such e-resources. References Brown, M.F. (2009). Exhibiting indigenous heritage in the age of cultural property. J.Cuno (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Carrazzino, M., Bergamasco, M. (2010). Beyond virtual museums: Experiencing immersive virtual reality in real museums. Journal of Cultural Heritage, 11, 452-458. Cuno, J. (2009) (Ed.). Whose culture? The promise of museums and the debate over antiquities (pp. 145-164), Princeton, Oxford: Princeton University Press. Dahmen, N. S., & Sarraf, S. (2009, May 22). Edward Hopper goes to the net: Media aesthetics and visitor analytics of an online art museum exhibition. Visual Communication Studies, Annual Conference of the International Communication Association, Chicago, IL. Eshach, H. (2007). Bridging in-school and out-of-school learning: formal, non-formal, and informal education . Journal of Science Education and Technology, 16 (2), 171-190. Goffman, E. (1974). Frame analysis: An essay on the organization of experience. Cambridge, MA: Harvard University Press. Hertog, J.K., & McLeod, D. M. (2001). A multiperspectival approach to framing analysis: A field guide. In S.D. Reese, O.H. Gandy, & A.E. Grant (Eds.), Framing public life: Perspective on media and our understanding of the social world (pp. 139-162). Mahwah, NJ: Lawrence Erlbaum Associates. Jewitt, C. (2008). Multimodality and literacy in school classrooms. Review of Research in Education, 32 (1), 241-267. Kok, K.C.A. (2004). Multisemiotic mediation in hypetext. In Kay L. O?Halloren (Ed.), Multimodal discourse analysis. Systemic functional perspectives (pp. 131-159), London: Continuum. van Dijk, T. A. (2000). Ideology ? a multidisciplinary approach. London, Thousand Oaks, New Delhi: Sage.
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Chen, Jinling, and Zhongyi Bao. "History of Russia China Foreign Trade Relations." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.015.
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Dementev, Aleksandr, and Vladimir Drobchenko. "Inter-Party Relations in Siberia after the Overthrow of the Russian Monarchy (March – October 1917)." In Communication and Cultural Studies: History and Modernity. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1280-2-61-69.
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Li, Bin, Lu Wang, Yuan Wen, Xiaohe Chen, and Yanhui Gu. "Discover social relations and activities from ancient Chinese history book Zuo Zhuan." In 2017 International Conference on Behavioral, Economic, Socio-cultural Computing (BESC). IEEE, 2017. http://dx.doi.org/10.1109/besc.2017.8256367.
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Solodukhina, T. K., and V. I. Solodukhin. "Modern ethno-cultural education of Old Believers in Russia." In Old Belief: History and Modernity, Local Traditions, Relations in Russia and Abroad. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0771-8-376-381.
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Wallenböck, Ute. "Connecting Foodways: Cultural Entanglement in Inner Asia." In Current Issues in the Study of History, Foreign Relations and Culture of Asian Countries. Novosibirsk State University, 2021. http://dx.doi.org/10.25205/978-5-4437-1268-0-102-109.
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Khasbulatova, Zulay Imranovna, and Zulay Imranovna Khasbulatova. "Relations Of The Chechens With Peoples Of North Caucasus In Modern History." In International Conference on Social and Cultural Transformations in the Context of Modern Globalism. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.11.107.
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Kotlyarova, Irina. "Museum-Reserve Kostenki and IHMC RAS: the history of relations." In The Earliest Paleolithic at Kostenki: Chronology, Stratigraphy, Cultural Diversity (on the 140th anniversary of archaeological research in the Kostenki-Borshchevo area). Institute for the History of Material Culture Russian Academy of Sciences, 2019. http://dx.doi.org/10.31600/978-5-9273-2863-5-2019-8-12.
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Özgün, Tevfik Orçun, and Onur Koçak. "Turkey-Macedonia Relations from Cultural and Historical Perspective." In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.00975.
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Balkans can be defined as a region which had been under different cultures’ and civilizations’ reign, and experienced different nations, religions and cultures. It is likely possible to see the effects of these multicultural and multinational structure on international politics and economy. In that sense, Macedonia is inevitably placed in an important point for Balkan and Ottoman history, and even for international politics. It is very possible to see Turkish influence on Macedonia, which -ruled by Ottoman for 542 years- has gained its independence, as a result of disintegration of Yugoslavia in 1991.When we take a look at condensing political and economic relations between Macedonia and Turkey, the effect of shared cultural and historical heritage on regional and wide economic development and cooperation can be seen with no huge effort. From that point of view, Ottoman Empire’s historical, sociological and cultural effect on sustainable and improvable economic relations are a topic of discussion. If we focus on the changing balance in Europe, resulted by disintegration of Yugoslavia, and developing approaches towards Macedonia, Turkey’s relations with Greece and other regional countries become very important, which are still being operated in terms of development and sustaining. In this study, Turkey’s attitude in recognition of Macedonia, and structure of Turkic population in Macedonia will be inspected and from Macedonia perspective, international politics and economic cooperation will be examined with historical, political and cultural emphasis.
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Uzeneva, E. S. "Cultural and linguistic interference in the tradition of the Old Believers in Bulgaria." In Old Belief: History and Modernity, Local Traditions, Relations in Russia and Abroad. Buryat State University Publishing Department, 2015. http://dx.doi.org/10.18101/978-5-9793-0771-8-254-263.
Texto completoInformes sobre el tema "Cultural relations – History – Exhibitions"
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Pryt, Karina. Polish-German film relations in the process of building German cultural hegemony in Europe 1933-1939. Universitätsbibliothek Johann Christian Senckenberg, 2022. http://dx.doi.org/10.21248/gups.70888.
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The article presents Polish-German film relations in the framework of Nazis cultural diplomacy between 1933 and 1939. The Nazi effort to create a cultural hegemony through the unification of the European film market under German leadership serves as an important point of reference. On the example of the Polish-German relationship, the article analyses the Nazi “soft power” in terms of both its strength and limits. Describing the broader geopolitical context, the article proposes a new trail in the research on both the film milieus and the cinema culture in Poland in the 1930s. In mythological terms, it belongs to cultural diplomacy and adds simultaneously to film history and New Cinema History.
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Yaremchuk, Olesya. TRAVEL ANTHROPOLOGY IN JOURNALISM: HISTORY AND PRACTICAL METHODS. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.49.11069.
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Our study’s main object is travel anthropology, the branch of science that studies the history and nature of man, socio-cultural space, social relations, and structures by gathering information during short and long journeys. The publication aims to research the theoretical foundations and genesis of travel anthropology, outline its fundamental principles, and highlight interaction with related sciences. The article’s defining objectives are the analysis of the synthesis of fundamental research approaches in travel anthropology and their implementation in journalism. When we analyze what methods are used by modern authors, also called «cultural observers», we can return to the localization strategy, namely the centering of the culture around a particular place, village, or another spatial object. It is about the participants-observers and how the workplace is limited in space and time and the broader concept of fieldwork. Some disciplinary practices are confused with today’s complex, interactive cultural conjunctures, leading us to think of a laboratory of controlled observations. Indeed, disciplinary approaches have changed since Malinowski’s time. Based on the experience of fieldwork of Svitlana Aleksievich, Katarzyna Kwiatkowska-Moskalewicz, or Malgorzata Reimer, we can conclude that in modern journalism, where the tools of travel anthropology are used, the practical methods of complexity, reflexivity, principles of openness, and semiotics are decisive. Their authors implement both for stable localization and for a prevailing transition.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, 2012. http://dx.doi.org/10.18235/0006209.
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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Arora, Saurabh, Arora, Saurabh, Ajit Menon, M. Vijayabaskar, Divya Sharma, and V. Gajendran. People’s Relational Agency in Confronting Exclusion in Rural South India. Institute of Development Studies (IDS), 2021. http://dx.doi.org/10.19088/steps.2021.004.
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Social exclusion is considered critical for understanding poverty, livelihoods, inequality and political participation in rural India. Studies show how exclusion is produced through relations of power associated with gender, caste, religion and ethnicity. Studies also document how people confront their exclusion. We use insights from these studies – alongside science and technology studies – and rely on life history narratives of ‘excluded’ people from rural Tamil Nadu, to develop a new approach to agency as constituted by two contrasting ways of relating: control and care. These ways of relating are at once social and material. They entangle humans with each other and with material worlds of nature and technology, while being mediated by structures such as social norms and cultural values. Relations of control play a central role in constituting exclusionary forms of agency. In contrast, relations of care are central to the agency of resistance against exclusion and of livelihood-building by the ‘excluded’. Relations can be transformed through agency in uncertain ways that are highly sensitive to trans-local contexts. We offer examples of policy-relevant questions that our approach can help to address for apprehending social exclusion in rural India and elsewhere.
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Tyson, Paul. Sovereignty and Biosecurity: Can we prevent ius from disappearing into dominium? Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp3en.
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Drawing on Milbank and Agamben, a politico-juridical anthropology matrix can be drawn describing the relations between ius and bios (justice and political life) on the one hand and dominium and zoe (private power and ‘bare life’) on the other hand. Mapping movements in the basic configurations of this matrix over the long sweep of Western cultural history enable us to see where we are currently situated in relation to the nexus between politico-juridical authority (sovereignty) and the emergency use of executive State powers in the context of biosecurity. The argument presented is that pre-19th century understandings of ius and bios presupposed transcendent categories of Justice and the Common Good that were not naturalistically defined. The very recent idea of a purely naturalistic naturalism has made distinctions between bios and zoe un-locatable and civic ius is now disappearing into a strangely ‘private’ total power (dominium) over the bodies of citizens, as exercised by the State. The very meaning of politico-juridical authority and the sovereignty of the State is undergoing radical change when viewed from a long perspective. This paper suggests that the ancient distinction between power and authority is becoming meaningless, and that this loss erodes the ideas of justice and political life in the Western tradition. Early modern capitalism still retained at least the theory of a Providential moral order, but since the late 19th century, morality has become fully naturalized and secularized, such that what moral categories Classical economics had have been radically instrumentalized since. In the postcapitalist neoliberal world order, no high horizon of just power –no spiritual conception of sovereignty– remains. The paper argues that the reduction of authority to power, which flows from the absence of any traditional conception of sovereignty, is happening with particular ease in Australia, and that in Australia it is only the Indigenous attempt to have their prior sovereignty –as a spiritual reality– recognized that is pushing back against the collapse of political authority into mere executive power.