Bibliografie tematiche / Imperialism in art

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Letteratura scientifica selezionata sul tema "Imperialism in art"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Imperialism in art"

1

Emery, Elizabeth. "Imperialism, Art and Restitution." Commonwealth Law Bulletin 32, no. 4 (December 2006): 745–47. http://dx.doi.org/10.1080/03050710601179135.

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O'Connell, Mary Ellen, and Sara DePaul. "Report on the Conference: Imperialism, Art and Restitution." International Journal of Cultural Property 12, no. 4 (November 2005): 487–90. http://dx.doi.org/10.1017/s0940739105050253.

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March 26–27, 2004, in St. Louis, Missouri, the Washington University School of Law's Whitney R. Harris Institute for Global Legal Studies and the School of Art hosted the Imperialism, Art and Restitution Conference. The conference brought together many of the world's leading experts on art and antiquities law, museum policy, and the larger cultural context surrounding these fields. The conference organizers chose several particularly controversial case studies to generate debate and discussion around the issues of whether Western states and their museums should return major works of art and an
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Đorđević, Marko. "Između proizvoda i dela: estetski fetišizam i finansijalizacija umetnosti." Život umjetnosti, no. 104 (July 2019): 86–99. http://dx.doi.org/10.31664/zu.2019.104.05.

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This paper focuses on the ideological transformation of modernistic aesthetic fetishism into what Professor Rastko Močnik has termed “aesthetic imperialism” in contemporary art. Our hypothesis is that this transformation is an effect of the overdetermination of artistic production to fictitious capital. In order to examine this hypothesis, we shall explore the transformation of the simple, modernist work of art into the twofold, contemporary work of art (which must first be a claim to aesthetic evaluation and only then a work of art). We do not suggest that modernism did not know the term “art
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Albert, Taneshia W., and Lindsay Tan. "Through the House of Slaves: A memorial to the origins of the Black diaspora." Art & the Public Sphere 10, no. 1 (July 1, 2021): 17–36. http://dx.doi.org/10.1386/aps_00046_1.

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The debate surrounding the removal of statues of imperialists, slave owners and slave traders raises the question of how to memorialize sombre historical truths with cultural humility. The House of Slaves on Gorée Island, Senegal, represents the connections of cultural identity, belonging and placemaking reclaimed from the enduring cultural trauma of the Trans-Atlantic slave trade. Using daughtering as a methodology (Evans-Winters 2019: 1), the authors present a discussion about the symbolic nature of art that memorializes a transformational passage shaped by imperialism and racist ideology. T
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Marcus, Anthony. "Aurora, a novel of art and anti-imperialism." Dialectical Anthropology 41, no. 3 (August 14, 2017): 279–83. http://dx.doi.org/10.1007/s10624-017-9467-4.

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Vogt, Leonard. "The Poisonwood Bible, Lumumba, and A Congo Chronicle: Patrice Lumumba in Urban Art." Radical Teacher 113 (February 14, 2019): 62–63. http://dx.doi.org/10.5195/rt.2019.595.

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Lee, Judith Yaross. "Comic Empires: Imperialism in Cartoons, Caricature, and Satirical Art." Studies in American Humor 8, no. 1 (April 1, 2022): 193–97. http://dx.doi.org/10.5325/studamerhumor.8.1.0193.

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Shechtman, Anna. "The Medium Concept." Representations 150, no. 1 (2020): 61–90. http://dx.doi.org/10.1525/rep.2020.150.1.61.

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In the second half of the twentieth century, in the very decades when the concept of “media” entered the vernacular, the “medium concept” began to shape American art criticism and curation. This was no coincidence: “mediums” emerged as a category for the organization and appreciation of art as the dialectical counterpart to media, and in response to the cultural imperialism of its mass-produced forms. As art became increasingly public, mediums became the public face of art.
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Tasrif, Muh. "DIMENSI SPIRITUAL KEBUDAYAAN DI TENGAH RELASI YANG TIMPANG ANTARA UTARA DAN SELATAN." El-HARAKAH (TERAKREDITASI) 10, no. 2 (August 10, 2008): 107. http://dx.doi.org/10.18860/el.v10i2.4429.

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<p>Moslem society as a part of the population of the south world, culturally, is in the influence of the hegemony of non-moslem culture, mainly, European, American, and Australian as parts of the north world population. Until the mid twentieth century, the hegemony existed in the form of military imperialism. Meanwhile, in the post mid twentieth century the hegemony changed into cultural imperialism in many areas, such as social, economic, social and even art. The countries of the south world have really done some efforts to face the neo imperialism, but have not suceeded well. Therefore
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Ballantyne, Andrew. "Specimens of Antient Sculpture: Imperialism and the decline of art." Art History 25, no. 4 (September 2002): 550–65. http://dx.doi.org/10.1111/1467-8365.00344.

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Tesi sul tema "Imperialism in art"

1

Guégan, Xavier. "Samuel Bourne and Indian natives : aesthetics, exoticism and imperialism." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2218/.

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Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bou
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Tintin, Hodén. "Att visualisera Orienten : En närläsning av Linda Nochlins The Imaginary Orient utifrån Edward Said och John M Mackenzie." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-11683.

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According to Edward Said the Orient is a European construction that has arisen out of a need to describe the Western civilisation as culturally superior. This occurrence Said gives the label "Orientalism". Art historian Linda Nochlin takes Said’s theories further in The Imaginary Orient where she conveys the thesis that the pictorial Orientalism is an expression of an imperialistic ideology. John M. Mackenzie, on the other hand is of the opinion that the pictorial Orientalism rather is an expression of the Romantic movement. To understand the Orientalist art we have to consider the social and
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Pierce, Alexandria 1949. "Imperialist intent - colonial response : the art collection and cultural milieu of Lord Strathcona in nineteenth-century Montreal." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84197.

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This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820--1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion o
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Christensen, Peter Hewitt. "Architecture, Expertise and the German Construction of the Ottoman Railway Network, 1868-1919." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11375.

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The dissertation examines the production of knowledge and architecture through the German-sponsored construction of the Ottoman railway network, comprising four discrete projects: the railways of European Turkey, the Anatolian railways, the Baghdad railway and the Hejaz railway and its Palestinian tributaries. The German construction of the Ottoman railway network is an historic event that proffers the opportunity to critically reconsider the epistemological tenets of expertise in broader political, economic and cultural structures distinct from the normative creative processes that dominate
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Borey, Erica. "Reichenbachia, Imperial Edition: Rediscovering Frederick Sander’s Late-Victorian Masterpiece of Botanical Art." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3292.

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This thesis project examines the history, provenance, and contemporary treatment of a rare Imperial Edition of Frederick Sander’s print collection Reichenbachia, Orchids Illustrated and Described, a high-quality orchid compendium dating to the late-nineteenth century. A local philanthropist loaned the Imperial Edition Reichenbachia, number 86 of 100 to Lewis Ginter Botanical Garden in 2011 on a long-term basis as a promised donation. Research into the origins of this collection involves several disparate historical topics, including the Victorian period of “orchid mania,” imperialist business
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Young, Tom. "Art in India's 'Age of Reform' : amateurs, print culture, and the transformation of the East India Company, c.1813-1858." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/285900.

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Two images of British India persist in the modern imagination: first, an eighteenth-century world of incipient multiculturalism, of sexual adventure amidst the hazy smoke of hookah pipes; and second, the grandiose imperialism of the Victorian Raj, its vast public buildings and stiff upper lip. No art historian has focused on the intervening decades, however, or considered how the earlier period transitioned into the later. In contrast, Art in India's 'Age of Reform' sets out to develop a distinct historical identity for the decades between the Charter Act of 1813 and the 1858 Government of Ind
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Rosengren, Sara. "HAVE YOU EVER SEEN THE CROWD GOIN’ APESHIT, LOUVRE? : En kvalitativ studie om svart representation i musikvideon Apeshit." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194508.

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Denna uppsats undersöker musikvideon Apeshit, av The Carters, som spelades in på Louvren och hur den tar upp frågor om svart representation. Syftet med studien handlar om att bidra med kunskap om hur representation visualiseras samt dess effekter. En ytterligare ambition handlar om responsen videon fick, som bland annat resulterade i Louvrens guidade tur Beyoncé and Jay-Z’s Louvre Hightlights. Studien har till syfte att analysera detta utifrån svart representation och demokratisering. Genom ett postkolonialt perspektiv med fokus på Stuart Halls kulturella hegemoni och Richard Dyers vithetsbegr
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Carlson, Jack. "Images, objects and imperial power in the Roman and Qin-Han empires." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:61edd022-db89-4af6-bd21-3da3a593c390.

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How and why was imperial power made visually and physically manifest in two similar, contemporaneous megastates - the Roman Principate and Qin-Han China? Framing the Chinese and Roman material within such a question breaks it free from the web of expectations and assumptions in which conventional scholarship almost always situates it. It also builds upon the limited but promising work recently undertaken to study these two empires together in a comparative context. The purpose of this thesis is not to discover similarities and differences for their own sake; but, by discovering similarities an
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Strydom, Richardt. "A comparative reading of the depiction of Afrikaner ancestry in two works by C.D. Bell / Richardt Strydom." Thesis, North-West University, 2009. http://hdl.handle.net/10394/4987.

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This dissertation investigates the contradictions and similarities regarding the depictions of Afrikaner ancestry in two works by Charles Davidson Bell: The landing of Van Riebeeck, 1652 (1850) and Cattle boers' outspan (s.a.). The works were discussed and compared from a conventional perspective in order to establish the artworks' formal qualities, subject matter and thematic content This reading was extended by employing postcolonial theoretical principles in order to contextualise these two artworks within their Victorian ideological frameworks, social realities and authoring strategies. Th
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Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.

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This thesis examines the relationship between the three artists' workshops Røde Mor (Red Mother), Folkets Ateljé (The People's Studio) and GRAS, who worked between 1968 and 1975 in Denmark, Sweden and Norway. Røde Mor was from the outset an articulated Communist graphic workshop loosely organised around collective exhibitions. It developed into a highly productive and professionalised group of artists that made posters by commission for political and social movements. Its artists developed a familiar and popular artistic language characterised by imaginative realism and socialist imagery. Fol
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Libri sul tema "Imperialism in art"

1

Henry, Merryman John, ed. Imperialism, art and restitution. Cambridge: Cambridge University Press, 2006.

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1967-, Scott Sarah, and Webster Jane, eds. Roman imperialism and provincial art. Cambridge, UK: Cambridge University Press, 2003.

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Yorgun, İbrahim. The patronage of the mightier: Ankara's cross-Atlantic prescriptions from America in the 50s. Istanbul: Libra, 2019.

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4

Durakovic, Nermin, and Jeppe Wedel-Brandt. Hvidt støv: En antologi om 'busteaktionen' og det vi taler om, når vi taler om den. Aarhus: Antipyrine, 2021.

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Sung, Victoria, and Liv Porte. Candice Lin: Seeping, rotting, resting, weeping. Cambridge, MA: Carpenter Center for the Visual Arts, 2021.

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Martial, Jacques, and J. A. Mbembé. Sexe, race & colonies. Paris: La Découverte, 2018.

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Yūko, Kikuchi, ed. Refracted modernity: Visual culture and identity in colonial Taiwan. Honolulu: University of Hawaii Press, 2007.

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Soulages, François. Frontières & artistes: Espace public, mobilité, (post)colonialisme en Méditerranée. Paris: L'Harmattan, 2014.

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Sara, Friedrichsmeyer, Lennox Sara, and Zantop Susanne 1945-, eds. The imperialist imagination: German colonialism and its legacy. Ann Arbor: University of Michigan Press, 1998.

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(Gallery), São Roque. Portugal, the first global empire. Lisboa: São Roque, antiquités et galerie d'art, 2018.

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Capitoli di libri sul tema "Imperialism in art"

1

Howes, Jennifer. "Landscape and imperialism." In The Art of a Corporation, 51–77. London: Routledge India, 2023. http://dx.doi.org/10.4324/9781003379515-3.

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Lin, Yuexin Rachel. "“We Are on the Brink of Disaster”." In Competing Imperialisms in Northeast Asia, 157–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003126430-13.

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King, Anthony D. "Art, globalization, and imperialism." In Art and Globalization, 158–60. Penn State University Press, 2015. http://dx.doi.org/10.1515/9780271072258-020.

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King, Anthony D. "ART, GLOBALIZATION, AND IMPERIALISM." In Art and Globalization, 158–60. Penn State University Press, 2015. http://dx.doi.org/10.5325/j.ctv14gp91q.22.

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Williams, Jonathan. "From Polybius to the Parthenon: Religion, Art, and Plunder." In Imperialism, Cultural Politics, and Polybius, 278–97. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199600755.003.0016.

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"9. Family Values: Art and Power at Ghirza in the Libyan Pre-desert." In Imperialism, Power, and Identity, 246–68. Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400848270-015.

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Worcester, Kent. "Art Spiegelman and 9/11." In Artful Breakdowns, 155–74. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496837509.003.0007.

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This chapter considers the extent to which Art Spiegelman's post-9/11 interventions were “inflamed” by explicitly political concern. While there are well-researched accounts that acknowledge the engagé overtones of Spiegelman's output in this period, the chapter highlights that scholars like Hillary Chute and Ted Gournelos seem oddly reluctant to differentiate Spiegelman's approach and outlook from contending perspectives. The chapter aims to locate Spiegelman's early twenty-first-century cultural and artistic practice in the context of longstanding debates on the left, broadly defined, over liberal values, foreign policy, and religious extremism. It argues that Spiegelman's interventions in this period were organized around three main principles: first, a robust defense of classical liberal and Enlightenment values; second, a refusal to downplay the magnitude and significance of 9/11 by subsuming it within larger narratives about imperialism and anti-imperialism; third, consistent opposition to both state militarism and violent extremism. The chapter assesses how these positions placed him at odds not only vis-à-vis conservatives and Republicans, but also liberal humanitarian interventionists.
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"OUR WORLD ART HISTORY IS IMPERIALISM SEEN AESTHETICALLY." In A World Art History and Its Objects, 117–29. Penn State University Press, 2008. http://dx.doi.org/10.5325/j.ctv14gpcs2.16.

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"Visibility and Veiling: Iranian Art on the Global Scene." In Seen and Unseen: Visual Cultures of Imperialism, 172–95. BRILL, 2017. http://dx.doi.org/10.1163/9789004357013_010.

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"9 Our World Art History Is Imperialism Seen Aesthetically." In A World Art History and Its Objects, 117–30. Penn State University Press, 2008. http://dx.doi.org/10.1515/9780271036069-014.

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Atti di convegni sul tema "Imperialism in art"

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Andrew, Gretchen. "Search Engine Art: Internet Imperialism and the image in context." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.17.

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Liu, Yiding. "A Brief History of Cruisers, Witnesses of the Colonial Imperialism." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.526.

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Chen, Xinyi, and Siwen Shen. "Review of the Impact of Cultural Imperialism in the Context of Globalization to the Film Industry." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.041.

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Dymovska, A. K. "Representation of Russian «pagan imperialism» in the song by Alexandra Pakhmutova and Nikolai Dobronravov «Enchanted Rus»." In THE INFLUENCE OF CULTURE AND ART ON THE VALUE ORIENTATIONS OF CIVILIZATION IN WAR AND POST-WAR TIMES. Baltija Publishing, 2022. http://dx.doi.org/10.30525/978-9934-26-237-1-7.

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Yamada, Etsuko. "The Views on Linguistic Imperialism in Multicultural Classroom." In The IAFOR International Conference on Arts & Humanities – Hawaii 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2432-4604.2023.36.

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Imanishi, Raquel. "Cidade, memória e literatura na infância berlinense de Walter Benjamin." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3800.

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W. Benjamin escreveu a Infância berlinense entre 1932 e 1938. Sobre essa coleção de reminiscências em miniatura diz um dos biógrafos do filósofo não se tratar de um olhar nostálgico para a vida vivida, mas antes da “tentativa de pôr ante os olhos, através da escrita, a constelação alterada de relações políticas, sociais e culturais de toda uma vida”. Apreensão moderna e contraditória de um passado sem volta, o livro talvez possa ser lido como vestígio de uma história de que se tem pouca notícia. Nascido em 1892 em BerlimCharlottemburg, Benjamin não só cresceu numa cidade que se transformava, m
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Mary, D. Christina Sagaya. "Linguistic Imperialism and the Extrinsic Motivation of the First Generation L2 Learners in a Heterogeneous ESL Classroom." In The Kyoto Conference on Arts, Media & Culture 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2436-0503.2023.26.

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LekiaSvili, Tamriko. "Russian Imperialist Interests in the South Caucasus in the XVI-XVII Centuries (According to the Questionnaires of the Russian Ambassadors)." In The 4th International Conference on Social Sciences, Humanities, and Arts. Global Ks, 2023. http://dx.doi.org/10.33422/4th.icsha.2023.04.002.

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Maroufmashat, Azadeh, Farid Sayedin, and Sourena Sattari. "Multi Objective Optimization of Direct Coupling Photovoltaic-Electrolyzer Systems Using Imperialist Competitive Algorithm." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-39765.

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Photovoltaic-electrolyzer systems are one of the most promising alternatives for obtaining hydrogen from a renewable energy source. Determining size and the operational conditions are always a key issue while coupling directly renewable electricity sources to PEM electrolyzer. In this research, the multi objective optimization approach based on an imperialist competitive algorithm (ICA), which is employed to optimize the size and the operating conditions of a directly coupled photovoltaic (PV)-PEM electrolyzer. This allows the optimization of the system by considering two different objectives,
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Lie, Anita, Siti Mina Tamah, Trianawaty, and Fransiskus Jemadi. "Challenges and Resources in Enhancing English Teachers’ Proficiency." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.9-2.

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This study addresses the conflicting views of the role of English as a means of global communication. Responding to the growing need to foster communicative abilities in English, schools in Indonesia are driven to make their students proficient in English. However, the majority of English teachers themselves might not be adequately prepared to use English as a means of communication; improving their English proficiency and the willingness to communicate in English (Clement, 2003) has thus become a matter of concern amidst the prevailing resistance to English as the language of the imperialist.
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Rapporti di organizzazioni sul tema "Imperialism in art"

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Lyzanchuk, Vasyl. COMMUNICATIVE SYNERGY OF UKRAINIAN NATIONAL VALUES IN THE CONTEXT OF THE RUSSIAN HYBRID WAR. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11077.

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The author characterized the Ukrainian national values, national interests and national goals. It is emphasized that national values are conceptual, ideological bases, consolidating factors, important life guidelines on the way to effective protection of Ukraine from Russian aggression and building a democratic, united Ukrainian state. Author analyzes the functioning of the mass media in the context of educational propaganda of individual, social and state values, the dominant core of which are patriotism, human rights and freedoms, social justice, material and spiritual wealth of Ukrainians,
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