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Martin Glynn explores the relevance black artistic contributions have for understanding crime and justice. Through art forms including black crime fiction, black theatre and black music, this book brings attention to marginalized perspectives within mainstream criminology.

Martin Glynn explores the relevance black artistic contributions have for understanding crime and justice. Through art forms including black crime fiction, black theatre and black music, this book brings attention to marginalized perspectives within mainstream criminology.

Front cover -- Copyright -- Contents -- Introduction -- 1. The Birth of a Cultural Strategy -- 2. Representing the New Negro -- 3. Du Bois's Crisis and the Black Image on the Page -- 4. "A union of art and propaganda -- 5. White in Hollywood -- 6. Blacks, Reds, White -- Conclusion -- Acknowledgments -- Notes -- Bibliography -- Index.

Este estudo investiga o conceito gadameriano de monumento arquitetônico, apresentado em Verdade e método. Apesar de se referir ao monumento arquitetônico apenas em trechos de sua obra, Gadamer insere a arquitetura no contexto das obras de arte, situando-a em uma posição exemplar dentre as outras expressões artísticas no processo de compreensão da verdade. Sendo assim, a pesquisa objetivou traçar um estudo da noção gadameriana de monumento arquitetônico e, consequentemente, inserir a problemática hermenêutica no estudo da arquitetura. A metodologia se caracterizou por ser essencialmente bibliográfica. Percebeu-se que a visão de Gadamer sobre a arquitetura é como local de abrigo de todas as artes. Esta, quando consegue suprir seu aspecto funcional e artístico, pode ser denominada de monumento arquitetônico: a arquitetura como obra de arte. Almeja-se portanto, estreitar o vínculo existente entre filosofia e arquitetura, a fim de indicar novas perspectivas para a compreensão da arte da construção.

(...) Welsh, Jennifer M.: North American citizenship: possibilities and limits. - S. 33-50 Brunelle, Dorval: NAFTA and North American citizenship: an unfounded debate? Comments. - S. 51-65

Esta investigación busca analizar las relaciones entre el movimiento feminista y el arte en Argentina. Se detiene particularmente en la década de los '70, años en que surge la denominada segunda ola del movimiento feminista en argentina en un contexto social e histórico particular que organizará el imaginario y la recepción tanto del movimiento feminista como de la práctica artística, entendida como política. Desde allí se indaga en las relaciones entre el arte feminista en Latinoamérica y en Argentina. La segunda parte, a través de entrevistas en profundidad del recorrido vital de la artista Vera Grión busca hacer foco, en primer lugar, en las búsquedas personales y colectivas de las mujeres aristas en pos de construir su propia genealogía y los debates que las mujeres artistas establecieron contra la propia narrativa de la historia del arte. ; Questa ricerca si propone di analizare le relazioni tra il movimento femminista e la cosidetta arte política in Argentina. Nella prima parte ho analizzato le relazioni tra i movimienti femministi e i movimenti sociali e politici di sinistra degli anni '70, anní in cui emerge la seconda ondata del femminismo in Argentina. Questa storicizzazione mi permete di osservare il modo in cui la rappresentazione del feminismo e dell'arte política si conguigano tra di loro. Nella parte successiva analizzo il contesto generale dell' arte latinoamericana feminnista, mettendo in luce le particolarità dell' arte in Argentina. ; Máster Erasmus Mundus en Estudios de las Mujeres y de Género, GEMMA

This paper explores how art contributes to the articulation of memories that counter the official historical narrative of Hungary's self-proclaimed political and ideological system, illiberal democracy. Amid deepening polarization between Europe's post-colonialist and post-socialist countries, the Hungarian government promotes a Christian conservative national identity against the "liberal" values of Western Europe. Systematic appropriation of historical traumas is at the core of such efforts, which largely manifests in removing, erecting and reinstating memorials, as well as in the re-signification of trauma sites. Insufficient civic involvement in rewriting histories generates new ways of resistance, which I demonstrate through the case study of a protest-performance organized by the Living Memorial activist group as a response to the government's decision to displace the memorial of Imre Nagy in 2018. I seek to understand the dynamics between top-down memory politics, civil resistance and art within the conceptual apparatus of the "memory activism nexus" (Rigney 2018, 2020) and "multidirectional memories" (Rothberg 2009). I argue that artistic memory activism has limited potential to transform the dynamics of memory in a context where a national conservative political force has gradually taken control over historical narratives, triggering inevitably polarizing responses in the society. Although profoundly embedded in local histories, the case-study may offer new ways of negotiating traumatic heritages through the entanglement of art and memory activism.

This paper explores how art contributes to the articulation of memories that counter the official historical narrative of Hungary's self-proclaimed political and ideological system, illiberal democracy. Amid deepening polarization between Europe's post-colonialist and post-socialist countries, the Hungarian government promotes a Christian conservative national identity against the "liberal" values of Western Europe. Systematic appropriation of historical traumas is at the core of such efforts, which largely manifests in removing, erecting and reinstating memorials, as well as in the re-signification of trauma sites. Insufficient civic involvement in rewriting histories generates new ways of resistance, which I demonstrate through the case study of a protest-performance organized by the Living Memorial activist group as a response to the government's decision to displace the memorial of Imre Nagy in 2018. I seek to understand the dynamics between top-down memory politics, civil resistance and art within the conceptual apparatus of the "memory activism nexus" (Rigney 2018, 2020) and "multidirectional memories" (Rothberg 2009). I argue that artistic memory activism has limited potential to transform the dynamics of memory in a context where a national conservative political force has gradually taken control over historical narratives, triggering inevitably polarizing responses in the society. Although profoundly embedded in local histories, the case-study may offer new ways of negotiating traumatic heritages through the entanglement of art and memory activism.

This paper explores how art contributes to the articulation of memories that counter the official historical narrative of Hungary's self-proclaimed political and ideological system, illiberal democracy. Amid deepening polarization between Europe's post-colonialist and post-socialist countries, the Hungarian government promotes a Christian conservative national identity against the "liberal" values of Western Europe. Systematic appropriation of historical traumas is at the core of such efforts, which largely manifests in removing, erecting and reinstating memorials, as well as in the re-signification of trauma sites. Insufficient civic involvement in rewriting histories generates new ways of resistance, which I demonstrate through the case study of a protest-performance organized by the Living Memorial activist group as a response to the government's decision to displace the memorial of Imre Nagy in 2018. I seek to understand the dynamics between top-down memory politics, civil resistance and art within the conceptual apparatus of the "memory activism nexus" (Rigney 2018, 2020) and "multidirectional memories" (Rothberg 2009). I argue that artistic memory activism has limited potential to transform the dynamics of memory in a context where a national conservative political force has gradually taken control over historical narratives, triggering inevitably polarizing responses in the society. Although profoundly embedded in local histories, the case-study may offer new ways of negotiating traumatic heritages through the entanglement of art and memory activism.

Although they elaborate it differently, both Levinas and Deleuze appeal to the notion of rhythm as decisive for understanding art. Drawing on their analyses I discuss the work of several artists featured in a current exhibit showing at the Tate Britain, All Too Human: Bacon, Freud and a Century of Painting Life. In addition to Francis Bacon and Lucian Freud, I discuss the work of Paula Rego and Lynette Lydiam-Boakye. Vlad Ionescu suggests that a productive approach to writing about art after Deleuze and Guattari would be to inquire into 'how constellations of sensation modify our perceptions of the world' (2017, p. 22). I take up Ionescu's suggestion, but also recontexutalize it in order to offer a politicized account of how the exhibit is framed. At the same time I draw on feminist and race theory to discuss the work of Rego and Lydiam-Boakye, thus also recontextualizing Levinas's and Deleuze's analyses of art. The questions this paper addresses include: What makes these paintings work, and how do they function? How do their aspects and rubrics operate? What creates their rhythms? How do they operate as an assemblage?

Joseph Beuys, nacido en Cléveris (Renania del Norte-Westfalia) en 1921 y faliecido en Dusseldorf en 1986, posee una obra madura casi desde un primer momento. Superficialmente podríamos verla como el canto a sí mismo de un gran narcisista, donde sus experiencias y su persona son los grandes protagonistas. En una lectura más profunda, estos hechos personales no son más que el medio para ir más allá del yo y dar lugar a una creación plástica de trascendencia social. Tras la 2- Guerra Mundial, en la que lucha como piloto de la Luftwaffe, estudia en la Academia de Bellas Artes de Dusseldorf. Será a partir de los años 60 cuando encontremos al auténtico Beuys, escultor objetual e instalador, el creador de la plástica social, y desde sus contactos con Fluxus en 1962, el Beuys accionista. En los 70, se nos presenta el artista más claramente politizado. La educación, la incidencia social del arte, el arte como «tercera vía o vía alternativa» entre socialismo y capitalismo, la ecología serán sus materiales de trabajo.