Suchergebnisse

Review of Mark McLelland, Kazumi Nagaike, Katsuhiko Suganuma, and James Welker, editors. Boys love manga and beyond: History, culture, and community in Japan. Jackson: University Press of Mississippi, 2015, paperback, $30 (304p) ISBN 978-1496807762.

Introduction / by Richard McMahon -- Europeans' weak cultural identity -- Bringing the demos back in : people's views on "European identity" / by Marco Antonsich -- Enlargement in perspective : the EU's quest for identity / by Helene Sjursen -- Mistaken identity : critical perspectives on European culture -- Not quite "sui generis" enough : interrogating European values / by Thomas Diez -- Putting culture in its place : anthropological reflections on the EU / by Maryon McDonald -- Culture, ideology and a politically viable EU -- What kind of community and how much community does the European Union require? / by Dieter Fuchs -- Cleaning up after European identity : the consequences of a failed political strategy / by Bo Stråth -- European identity : lessons from 20 years of social psychological inquiry / by Xenia Chryssochoou -- Cultural alternatives to identity -- Lessons from the past? : Europe's grand shift from cultural homogenization to multiculturalism / by Daniele Conversi -- Cultural networks as vectors of European integration / by Annabelle Littoz-Monnet -- Horizontal Europeanization and identification with Europe / by Steffen Mau and Jan Mewes -- How culture and history shape Europe's differentiated integration : the cases of liberal international relations and northern Euroscepticism / by Richard McMahon -- Conclusion / by Annabelle Littoz-Monnet and Richard McMahon

The GDR Today promotes interdisciplinary approaches to East Germany by gathering articles from a new generation of scholars in the fields of literary and visual studies, history, sociology, translation studies, political science, museum studies and curating practice. The contributors to this volume argue that it is necessary to transgress disciplinary boundaries to escape the gridlocked categories of GDR scholarship. Exploring East German everyday life, cultural policies, memory and memorialization, the volume aims to reinvigorate the study of the GDR. Through the combination and juxtaposition of different approaches to East Germany, it overcomes intra-disciplinary conceptual binaries and revitalizes debates about the very concepts we use to understand life under late twentieth-century state socialism

"All of you to Tel Aviv on Purima": a local-national festival -- "Travelling to Esther": a civil-religious and pilgrimage event -- "A little bit of tradition" -- The civilized-carnivalesque body -- "Mordechai is riding a horse": political performance -- "Our only romantic festival": Hebrew queen Esther -- Another new Jew: urban Zionist ideology

Representing the "un-representable" -- Resistance, and repression (1940 -1960) -- Revisiting collaboration: Vichy and the Holocaust (1960-1980) -- From Lanzmann's Shoah to la shoah (1985-2000) -- A "century of genocide" and beyond (2000 ) -- Conclusion

This paper deals with forming an idea of the old Dalmatian art and urban heritage within the new cultural paradigm that was created during the 1950s in Yugoslavia. It turns out that the period marked in politics by the escalation of conflict between Yugoslavia and Italy, due to the Free Territory of Trieste, was one of the most encouraging periods for the development of professional paradigm in Croatian art history. Cvito Fisković, Grgo Gamulin, Ivo Petricioli and Kruno Prijatelj by exploring the Dalmatian cultural heritage, ranging from artists so-called Schiavoni to urbanism, recognised artistic discontinuities and the composite character of Dalmatian culture. One of the main topics of their research was the role of ethnic mass in creating Dalmatian art and cultural landscape as a whole. In this way, by shifting the focus and direction of research, their aim was to free Dalmatian art of theoretical approaches resulting from the political and stylistic appropriation, in which it was considered as a passive reflection of external influences. It is this generation that recognized the key role of urban and rural space for the visual experience of Dalmatia. In the Fifties, in accordance with the new cultural paradigm, the image of old Dalmatian art was formed, which is still largely present in Croatian historiography. L'articolo è incentrato sulla formazione dell'immagine dell'antica arte dalmata e del patrimonio urbanistico nell'ambito del nuovo paradigma culturale che si andava creando negli anni Cinquanta del secolo scorso in Jugoslavia. L'autrice dimostra che il periodo in questione, segnato dalle crescenti tensioni tra la Jugoslavia e l'Italia a causa del Territorio libero di Trieste, è stato uno dei più ricchi di stimoli dal punto di vista dello sviluppo dei paradigmi storico-artistici. Studiosi come Cvito Fisković, Grgo Gamulin, Ivo Petricioli e Kruno Prijatelj, analizzando il patrimonio culturale nel periodo che va dagli artisti cosiddetti Schiavoni all'epoca dell'urbanismo, hanno potuto riscontrare le discontinuità artistiche e il carattere composito della cultura dalmata. Uno degli assi tematici centrali delle loro ricerche è stato quello del ruolo delle masse etniche nella creazione dell'arte figurativa dalmata e del paesaggio culturale nel suo insieme. In questa maniera, spostando il baricentro e la direzione stessa delle ricerche, hanno voluto liberare l'arte dalmata dagli approcci teorici provenienti da appropriazioni politiche o correntistiche che l'hanno presa in esame come un riflesso passivo delle influenze esterne. La generazione di studiosi in questione ha finalmente riconosciuto il ruolo chiave dello spazio urbano e di quello rurale nell'esperienza visiva della Dalmazia. Negli anni Cinquanta, in concomitanza col crearsi del nuovo paradigma culturale, si è venuta formando anche una nuova concezione dell'antica arte dalmata che è ancora oggi, in buona parte, presente nella storiografia croata.

AbstractFrank Knight's theory of monopoly price has received relatively little attention in the literature onRisk, Uncertainty and Profit. We argue that Knight accepted and refined the monopoly price theory of Carl Menger and his followers. Knight highlights the difference between monopoly as an inevitable outcome of departures from perfect competition, and monopoly as a contingent or 'culture-history fact'. In the latter case, coercive institutional barriers to potential competition shape the choice set of consumers and producers, and provide a crucial method for identifying monopoly gains. There are three benefits to this account of Knight's contributions: it rehabilitates the focus on the institutional determinants of monopoly price, as opposed to the mainstream emphasis on market frictions and imperfections; it opens the way for a Mengerian monopoly price theory that seriously engages the study of institutions; and it adds new evidence and nuance to ongoing debates about Knight's place in economics.