The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.

Aboriginal Art Collection: Highlights from Australia's Public Museums and Galleries

Contents: Introduction SUSAN COCHRANE National Gallery of Australia, Canberra WALLY CARUANA National Museum of Australia, Canberra DAVID KAUS Museum and Art Gallery of the Northern Territory, Darwin MARGIE WEST Art Gallery of New South Wales, Sydney HETTI PERKINS AND KEN WATSON Museum of Contemporary Art, Sydney BERNICE MURPHY Queensland Art Gallery, Brisbane MARCO NEALE Queensland Museum, Brisbane RICHARD ROBINS National Gallery of Victoria, Melbourne JUDITH RYAN Museum Victoria, Melbourne GAYE SCULTHORPE Tasmanian Museum and Art Gallery, Hobart KIM AKERMAN AND DAVID HANSEN Art Gallery of Western Australia, Perth MICHAEL O'FERRALL AND BRENDA L. CROFT Western Australian Museum, Perth ROSS CHADWICK AND MANCE LOFGREN Art Gallery of South Australia, Adelaide JANE HYLTON South Australian Museum, Adelaide PHILIP A. CLARKE List of Plates Bibliography Editor's Acknowledgments Contributors Index

Linking Agentive Objects in Mandarin Chinese

This paper is concerned with the problem of argument-function mismatch observed in the apparent subject-object inversion in Chinese consumption verbs, e.g., chi 'eat' and he 'drink', and accommodation verbs, e.g., zhu 'live' and shui 'sleep'. These verbs seem to allow the linking of [agent-SUBJ theme-OBJ] as well as [agent-OBJ theme-SUBJ], but only when the agent is also the semantic role denoting the measure or extent of the action. The account offered is formulated within LFG's lexical mapping theory. Under the simplest and also the strictest interpretation of the one-to-one argument-function mapping principle (or the theta-criterion), a composite role such as ag-ext receives syntactic assignment via one composing role only. One-to-one linking thus entails the suppression of the other composing role. Apparent subject-object inversion occurs when the more prominent agent role is suppressed and thus allows the less prominent extent role to dictate the linking of the entire ag-ext composite role. This LMT account also potentially facilitates a natural explanation of markedness among the competing syntactic structures.

Subject/Object Asymmetry in the Comprehension of English Relative Clauses by Japanese Learners of English

While a number of studies have shown that object-extracted relative clauses are more difficult to understand than subject-extracted counterparts for second language (L2) English learners (e.g., Izumi, 2003), less is known about why this is the case and how they process these complex sentences. This exploratory study examines the potential applicability of Gibson's (1998, 2000) Syntactic Prediction Locality Theory (SPLT), a theory proposed to predict first language (L1) processing difficulty, to L2 processing and considers whether the theory might also account for the processing difficulties of subject- and object-extracted relative clauses encountered by L2 learners. Results of a self-paced reading time experiment from 15 Japanese learners of English are mainly consistent with the reading time profile predicted by the SPLT and thus suggest that the L1 processing theory might also be able to account for L2 processing difficulty.

How many ways can a VP split? An investigation of the structure of VP shells in Japanese Causatives

The Japanese inchoative-lexical causative pair poses an interesting problem for the Minimalist Program – how should the lexical causative and the syntactic causative be structurally represented and theoretically accounted for? The lexical causative verb and the syntactic causative verb formed by suffixing the syntactic causative morpheme sase onto the inchoative counterpart are both single causative constructions that are semantically similar. Yet, they differ in some ways, most significantly in their clausality – the lexical causative is monoclausal in nature while the syntactic causative is biclausal, comparable to English biclausal constructions formed with let or force. This paper investigates how this difference can be represented by investigating the possible VP shell structures of different Japanese sentences, and the analysis from the discussion suggests a different structure where a CP is embedded into a higher VP shell as the sister of Agro head.

(FAB11_2_003) Authentic Japanese architecture after Bruno Taut: the problem of eclecticism

This paper will examine attitudes to eclectic stylistic borrowing in Japan in the twentieth century in light of the concept of authenticity. I am particularly interested in how an earlier claim correlating European modernist and traditional Japanese architecture continues to colour conceptions about what is an 'authentic' response for Japanese architects to make to contemporary conditions. Non-Western and vernacular architectures generally have been the repository for touristic desires for regional authenticity and difference. Yet Japan's unique role in the development of modernist architecture has given a peculiar intensity to the demand for its architecture to resist a perceived postmodern decadence.