905 resultados para Politics in art


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Although Richard Hooker’s private attitudes were clericalist and authoritarian, his constitutional theory subordinated clergymen to laymen and monarchy to parliamentary statute. This article explains why his political ideas were nonetheless appropriate to his presumed religious purposes. It notes a very intimate connection between his teleological conception of a law and his hostility towards conventional high Calvinist ideas about predestination. The most significant anomaly within his broadly Aristotelian world-view was his belief that politics is nothing but a means to cope with sin. This too can be linked to his religious ends, but it creates an ambiguity that made his doctrines usable by Locke.

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This article re-reads Fidel Castro's speech to Cuban artists and intellectuals at the Biblioteca Nacional José Martí (National Library) in June 1961. Despite extensive discussion of its famous extract, the speech has rarely been examined in depth. This article thus analyses the entire speech, situating it within its co-text and its context and examining its multiple functions, offering as it does an insight into the social and educational implications of cultural revolution in Cuba and the inevitable tensions inherent in these. The article evaluates the negotiations in the text in the light of their relevance to contemporary cultural debates in Cuba.

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Philosophy has repeatedly denied cinema in order to grant it artistic status. Adorno, for example, defined an ‘uncinematic’ element in the negation of movement in modern cinema, ‘which constitutes its artistic character’. Similarly, Lyotard defended an ‘acinema’, which rather than selecting and excluding movements through editing, accepts what is ‘fortuitous, dirty, confused, unclear, poorly framed, overexposed’. In his Handbook of Inaesthetics, Badiou embraces a similar idea, by describing cinema as an ‘impure circulation’ that incorporates the other arts. Resonating with Bazin and his defence of ‘impure cinema’, that is, of cinema’s interbreeding with other arts, Badiou seems to agree with him also in identifying the uncinematic as the location of the Real. This article will investigate the particular impurities of cinema that drive it beyond the specificities of the medium and into the realm of the other arts and the reality of life itself. Privileged examples will be drawn from various moments in film history and geography, starting with the analysis of two films by Jafar Panahi: This Is Not a Film (In film nist, 2011), whose anti-cinema stance in announced in its own title; and The Mirror (Aineh, 1997), another relentless exercise in self-negation. It goes on to examine Kenji Mizoguchi’s deconstruction of cinematic acting in his exploration of the geidomono genre (films about theatre actors) in The Story of the Last Chrysanthemums (Zangigku monogatari, 1939), and culminates in the conjuring of the physical experience of death through the systematic demolition of film genres in The Act of Killing (Joshua Oppenheimer et al., 2012).

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Faculty from Rhode Island School of Design representing Interior Architecture, Industrial Design, and Textiles detail their thoughtful interactions with materials.

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Designers respond to issues and synthesize ideas from throughout the day as voices from the field who directly encounter the need for recently graduated students to possess the ability to investigate and interrogate materials.

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Educators representing interactions with materials speak to critical approaches, life-cycle concerns, critical thinking of composition/process/properties.

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Call for submissions to participate in a show in the Bell Gallery, List Art Building at Brown University. Co-sponsored by the RI State Council on the Arts and the Providence Inner City Arts Association.

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A tese busca examinar dois desenvolvimentos de grandes conseqüências na América Latina nas últimas três décadas do século XX. Ela procura testar as teorias sobre políticas distributivas examinando os efeitos da democracia e da globalização no estado de bem-estar na América Latina utilizando dados de séries temporais para 15 países entre 1973 e 2000.

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A common feature in programs of the International Monetary Fund (IMF) is the use of conditionalities, macroeconomic and structural measures that a requesting country should adopt to obtain an assistance package. The objective of this work is to conduct an empirical analysis of the economic and political determinants of such conditionalities. In particular, our main contribution consists in the development of a new measure of conditionality, fiscal adjustment, and its comparison with the most used in the literature, the number of conditions. We choose fiscal adjustment because it is an adequate proxy for program austerity, since its implementation carries economic and political costs. In the empirical exercise, we use data from 184 programs in the period of 1999 and 2012, and estimate how our two measures of conditionalities respond to the economic and political factors. Our results suggest that they are quite different. The main determinant of the number of conditions is the political proximity of the borrowing country to the Fund’s major shareholders, the members of G5. On the other hand, the main determinant of fiscal adjustment is the size of the government fiscal deficit. Finally, we did not find correlation between the size of fiscal adjustment and the number of conditions. These results suggest that the analysis of the content of IMF programs should take into account the different measures of agreed conditionality.