Suchergebnisse

The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to postindustrial capitalism in its various manifestations. My investigation engages in a debate with these texts by challenging these assumptions by which the downtown artists have been understood. I address the work of Richard Bolton, Suzi Gablik, Hal Foster and Craig Owens, amongst others, by critiquing their differing conceptions of structure and agency and introducing the analytical dualist approach of sociologist Margaret Archer, one which theorises the agency of social actors within social structures in a superior manner. After making my case, I investigate five economic and political conditions facing these artists, including corporate expansion, entrepreneurialism, the entertainment industry, the rise of the neo-conservative political agenda and the struggle for dominance amongst critics themselves. In each, I investigate the production and distribution practices of a wide range of downtown artists in relation to the historical context, from groups such as Colab and PADD to individuals including Ann Magnuson, David McDermott, Jenny Holzer, Richard Hambleton, John Fekner, Jane Dickson and David Wojnarowicz, in order to illuminate the relationship between such practices and the social structures which shaped such activity. In so doing, I conclude that artists were both constrained and enabled by these contexts, thus providing a more complex picture of their place in art history.

This paper discusses industrial and economic adjustment in France in the 1980s. Itargues that French industry followed a path of adjustment throughout the decade,which was fundamentally different from both the German-Japanese style organisedcapitalism, and the US-UK type of deregulated capitalism. The analysis attributesthis to the structure and integration of the French political, financial andadministrative élite. Combining historical institutional analysis and insights from thenew economics of organisation, the paper also elaborates elements of amethodological alternative to traditional neo-classical and institutionalist arguments. ; Diese Arbeit analysiert den Wirtschaftswandel in Frankreich in den 80er Jahren. Die Autoren argumentieren, daß die Industrie in Frankreich in dieser Dekade einem Anpassungspfad folgte, der sich sowohl von dem organisierten Kapitalismus nach deutsch-japanischem Muster als auch von dem des deregulierten angelsächsischen Kapitalismus grundsätzlich unterscheidet. Die Analyse kommt zu dem Schluß, daß dies auf die Funktion und die Rolle der politischen, ökonomischen und administrativen Eliten in Frankreich zurückzuführen ist. Durch die Verknüpfung von Argumenten des historischen Institutionalismus und der neuen Organisationsökonmie werden in diesem Papier auch Elemente einer methodologischen Alternative zu den traditionellen neoklassischen und institutionalistischen Ansätzen bearbeitet.

The thesis consists of four chapters, an Introduction and a Conclusion. The Introduction considers the theoretical frameworks within which recent readings of the late-eighteenth-century French homoerotic ideal male nude have been developed; and how these readings have in turn emerged from a wider extra-art-historical discourse on the sexual politics of representation and the representation of sexual politics. A clear picture of the ideal male nude as a contested field emerges; and a justification of the materials which will be used in the thesis clarifies their critical engagement with these polemical debates surrounding the object of study. Chapter 1 is in two parts. Part one deals with the possibilities of a textual representation of homosexuality in French neoclassical poetics by focusing on the notion of 'anacréontisme' as a synonym for 'veiled' homoeroticism. Contrary to the present understanding of the notion, it is argued here, by recourse to successive French translations of the Greek source text, that homosexuality was explicitly problematized in the development of anacréontisme as a critical term, rather than consensually hidden. Part two reviews a social history of homosexuality in eighteenth-century France, in order to contextualize the preceding anacreontic debate. A Kantian reading of the beau ideal, in Chapter 3, attempts to contradict the now dominant understanding of this figure as being simply a high-cultural sign of patriarchal dominance. The chapter traces the philosophical coordinates of the beau ideal from the late seventeenth century until the moment when this figure coincides with the Kantian transcendental aesthetic, and thereby propels it into an anti-ideological space. Chapters 4 and 5 focus on a prime exemplar in current art-historical literature of the homoerotic male nude, David's painting Leonidas at Thermopylae. Chapter 4 argues for a newly politicized reading of the picture, by focusing on its sociohistorical moment. Chapter 5 reads David's painting through selected texts, and commentary on, Sade, in order to account for its 'perversity' in more ways than the simply sexual. Leonidas is finally understood here as a repositary of the various histories which have been precedingly traced. the Conclusion reflects on how those methodological procedures may open out the study of the homoerotic male nude and the construction of masculinity to further examination.

The emergence of Indonesian modern interior design begun by the opening of Liberalism in the Dutch East Indies. The establishment of new private enterprises and immigration of European were the connected factors in entering the modern concepts in interior design. Many schools that had been established since applying of Ethic Politic -especially technical schools - arose Indonesian modern designer pioneers and also arose a specific style of Indonesian modern design: Indo-European Style. The progress of communication technology in the late nineteenth century accelerated the influences of international movements in enriching the development of Indonesian modern interior design.

A letter report issued by the General Accounting Office with an abstract that begins "The Internal Revenue Service (IRS) needs up-to-date information on voluntary compliance in order to assess and improve its programs. IRS's last detailed study of voluntary compliance was done in the late 1980s, so the compliance information IRS is using today is not current. IRS is now carrying out the National Research Program (NRP), through which IRS auditors are reviewing about 47,000 randomly selected tax year 2001 individual tax returns. In June 2002, GAO reported that NRP was necessary, that its design was sound, and that it appeared to meet IRS's goals of acquiring useful compliance data while minimizing burden on taxpayers with returns in the sample. GAO was asked to review IRS's implementation of NRP. GAO reviewed IRS's method of gathering internal and third-party data (casebuilding) and IRS's process of reviewing casebuilding materials to determine if audits are necessary (classification) and assessed IRS's plans to ensure consistent data collection while minimizing burden on taxpayers."

I present a historical study of the role played by the World Health Organization and UNICEF in the emergence and diffusion of the concept of primary health care during the late 1970s and early 1980s. I have analyzed these organizations' political context, their leaders, the methodologies and technologies associated with the primary health care perspective, and the debates on the meaning of primary health care.

Political theories of corporatism from the late 1970s make turgid reading and rather deservedly disappeared down a theoretical rabbit hole. However, my doctoral thesis on Feminism and Unionism draws on that theoretical framework as well as socialist feminist theories to think about recent radical change in New Zealand labour relations. This paper outlines corporatist theories, looks at how these featured in some union/political thinking in New Zealand in the late 1980s, and why, even though they are useful, they are inadequate to explain the labour market situation of New Zealand women and their unions.

This paper is a shortened and updated version of a previous report on French Polynesia's econonomy (Blanchet 1985), and is a descriptive overview rather than a comprehensive survey. The main objective of the paper has been to bring together data, complemented by extensive explanatory information, to provide material for the assessment of the evolution of French Polynesia's economy up to 1990. In order to complement the earlier report, the paper devotes substantial attention to developments during the 1980s. The most important factors shaping the economy of the territory have been political in nature. The drastic transformation and problematic adjustment to the outside world of what was formely a relatively insignificant, small, colonial-style economy, was brought about by French metropolitan policies on defence (essentially, the decision to set up a nuclear testing site in the territory). This report is chronological in its presentation. It examines the territory's key economic characteristics in each decade from the early 1960s onwards

International audience ; A French cinema public policy : films selected for the Cannes International film festival One selection in the list of French films annually selected to the Cannes International film Festival is a pledge of quality comparable with a financial cash advance granted by the French State on the receipts from this film. First edition of the Festival having specified the main philosophy of the Cannes competition ("to develop cinematographic art in all its forms"). So, we sought the existence of links between the public policies of support for French cinema and films presented by France at the Cannes Festival. Which are the policy guidelines and esthetics considerations detached from the list of 181 French films selected to Cannes since 1946 ? Are the stakes of the official supervision privileged a "standard" quality on the screen, offering a "window" to films programed to play a role on the scene of the French-speaking cultural diplomacy ? ; La sélection d'un film français pour le Festival de Cannes est aujourd'hui un gage de qualité comparable à celui que constitue l'obtention d'une avance accordée par l'État sur les recettes de ce film. Le règlement de la première édition ayant précisé le principal objectif du festival (" développer l'art cinématographique sous toutes ses formes "), nous avons recherché la présence de rapprochements factuels entre la politique française de soutien au cinéma et les films présentés par la France au Festival de Cannes. Quelles sont les orientations politiques et esthétiques qui se dégagent de la liste des 180 films français sélectionnés à Cannes depuis 1946 ? Au-delà de la revendication d'indépendance éditoriale du festival, les préoccupations de la tutelle étatique se sont-elles toujours tournées vers une quête de développement de l'art cinématographique ou ont-elles parfois privilégié d'autres voies, notamment celles d'une qualité " standard ", offrant une vitrine à des films censés jouer un rôle sur la scène de la diplomatie culturelle francophone ?

International audience ; A French cinema public policy : films selected for the Cannes International film festival One selection in the list of French films annually selected to the Cannes International film Festival is a pledge of quality comparable with a financial cash advance granted by the French State on the receipts from this film. First edition of the Festival having specified the main philosophy of the Cannes competition ("to develop cinematographic art in all its forms"). So, we sought the existence of links between the public policies of support for French cinema and films presented by France at the Cannes Festival. Which are the policy guidelines and esthetics considerations detached from the list of 181 French films selected to Cannes since 1946 ? Are the stakes of the official supervision privileged a "standard" quality on the screen, offering a "window" to films programed to play a role on the scene of the French-speaking cultural diplomacy ? ; La sélection d'un film français pour le Festival de Cannes est aujourd'hui un gage de qualité comparable à celui que constitue l'obtention d'une avance accordée par l'État sur les recettes de ce film. Le règlement de la première édition ayant précisé le principal objectif du festival (" développer l'art cinématographique sous toutes ses formes "), nous avons recherché la présence de rapprochements factuels entre la politique française de soutien au cinéma et les films présentés par la France au Festival de Cannes. Quelles sont les orientations politiques et esthétiques qui se dégagent de la liste des 180 films français sélectionnés à Cannes depuis 1946 ? Au-delà de la revendication d'indépendance éditoriale du festival, les préoccupations de la tutelle étatique se sont-elles toujours tournées vers une quête de développement de l'art cinématographique ou ont-elles parfois privilégié d'autres voies, notamment celles d'une qualité " standard ", offrant une vitrine à des films censés jouer un rôle sur la scène de la diplomatie culturelle francophone ?

International audience ; A French cinema public policy : films selected for the Cannes International film festival One selection in the list of French films annually selected to the Cannes International film Festival is a pledge of quality comparable with a financial cash advance granted by the French State on the receipts from this film. First edition of the Festival having specified the main philosophy of the Cannes competition ("to develop cinematographic art in all its forms"). So, we sought the existence of links between the public policies of support for French cinema and films presented by France at the Cannes Festival. Which are the policy guidelines and esthetics considerations detached from the list of 181 French films selected to Cannes since 1946 ? Are the stakes of the official supervision privileged a "standard" quality on the screen, offering a "window" to films programed to play a role on the scene of the French-speaking cultural diplomacy ? ; La sélection d'un film français pour le Festival de Cannes est aujourd'hui un gage de qualité comparable à celui que constitue l'obtention d'une avance accordée par l'État sur les recettes de ce film. Le règlement de la première édition ayant précisé le principal objectif du festival (" développer l'art cinématographique sous toutes ses formes "), nous avons recherché la présence de rapprochements factuels entre la politique française de soutien au cinéma et les films présentés par la France au Festival de Cannes. Quelles sont les orientations politiques et esthétiques qui se dégagent de la liste des 180 films français sélectionnés à Cannes depuis 1946 ? Au-delà de la revendication d'indépendance éditoriale du festival, les préoccupations de la tutelle étatique se sont-elles toujours tournées vers une quête de développement de l'art cinématographique ou ont-elles parfois privilégié d'autres voies, notamment celles d'une qualité " standard ", offrant une vitrine à des films censés jouer un rôle sur la scène de la diplomatie culturelle francophone ?

International audience A French cinema public policy : films selected for the Cannes International film festival One selection in the list of French films annually selected to the Cannes International film Festival is a pledge of quality comparable with a financial cash advance granted by the French State on the receipts from this film. First edition of the Festival having specified the main philosophy of the Cannes competition ("to develop cinematographic art in all its forms"). So, we sought the existence of links between the public policies of support for French cinema and films presented by France at the Cannes Festival. Which are the policy guidelines and esthetics considerations detached from the list of 181 French films selected to Cannes since 1946 ? Are the stakes of the official supervision privileged a "standard" quality on the screen, offering a "window" to films programed to play a role on the scene of the French-speaking cultural diplomacy ? ; La sélection d'un film français pour le Festival de Cannes est aujourd'hui un gage de qualité comparable à celui que constitue l'obtention d'une avance accordée par l'État sur les recettes de ce film. Le règlement de la première édition ayant précisé le principal objectif du festival (" développer l'art cinématographique sous toutes ses formes "), nous avons recherché la présence de rapprochements factuels entre la politique française de soutien au cinéma et les films présentés par la France au Festival de Cannes. Quelles sont les orientations politiques et esthétiques qui se dégagent de la liste des 180 films français sélectionnés à Cannes depuis 1946 ? Au-delà de la revendication d'indépendance éditoriale du festival, les préoccupations de la tutelle étatique se sont-elles toujours tournées vers une quête de développement de l'art cinématographique ou ont-elles parfois privilégié d'autres voies, notamment celles d'une qualité " standard ", offrant une vitrine à des films censés jouer un rôle sur la scène de la diplomatie culturelle francophone ?

International audience ; A French cinema public policy : films selected for the Cannes International film festival One selection in the list of French films annually selected to the Cannes International film Festival is a pledge of quality comparable with a financial cash advance granted by the French State on the receipts from this film. First edition of the Festival having specified the main philosophy of the Cannes competition ("to develop cinematographic art in all its forms"). So, we sought the existence of links between the public policies of support for French cinema and films presented by France at the Cannes Festival. Which are the policy guidelines and esthetics considerations detached from the list of 181 French films selected to Cannes since 1946 ? Are the stakes of the official supervision privileged a "standard" quality on the screen, offering a "window" to films programed to play a role on the scene of the French-speaking cultural diplomacy ? ; La sélection d'un film français pour le Festival de Cannes est aujourd'hui un gage de qualité comparable à celui que constitue l'obtention d'une avance accordée par l'État sur les recettes de ce film. Le règlement de la première édition ayant précisé le principal objectif du festival (" développer l'art cinématographique sous toutes ses formes "), nous avons recherché la présence de rapprochements factuels entre la politique française de soutien au cinéma et les films présentés par la France au Festival de Cannes. Quelles sont les orientations politiques et esthétiques qui se dégagent de la liste des 180 films français sélectionnés à Cannes depuis 1946 ? Au-delà de la revendication d'indépendance éditoriale du festival, les préoccupations de la tutelle étatique se sont-elles toujours tournées vers une quête de développement de l'art cinématographique ou ont-elles parfois privilégié d'autres voies, notamment celles d'une qualité " standard ", offrant une vitrine à des films censés jouer un rôle sur la scène de la diplomatie culturelle francophone ?

International audience ; A French cinema public policy : films selected for the Cannes International film festival One selection in the list of French films annually selected to the Cannes International film Festival is a pledge of quality comparable with a financial cash advance granted by the French State on the receipts from this film. First edition of the Festival having specified the main philosophy of the Cannes competition ("to develop cinematographic art in all its forms"). So, we sought the existence of links between the public policies of support for French cinema and films presented by France at the Cannes Festival. Which are the policy guidelines and esthetics considerations detached from the list of 181 French films selected to Cannes since 1946 ? Are the stakes of the official supervision privileged a "standard" quality on the screen, offering a "window" to films programed to play a role on the scene of the French-speaking cultural diplomacy ? ; La sélection d'un film français pour le Festival de Cannes est aujourd'hui un gage de qualité comparable à celui que constitue l'obtention d'une avance accordée par l'État sur les recettes de ce film. Le règlement de la première édition ayant précisé le principal objectif du festival (" développer l'art cinématographique sous toutes ses formes "), nous avons recherché la présence de rapprochements factuels entre la politique française de soutien au cinéma et les films présentés par la France au Festival de Cannes. Quelles sont les orientations politiques et esthétiques qui se dégagent de la liste des 180 films français sélectionnés à Cannes depuis 1946 ? Au-delà de la revendication d'indépendance éditoriale du festival, les préoccupations de la tutelle étatique se sont-elles toujours tournées vers une quête de développement de l'art cinématographique ou ont-elles parfois privilégié d'autres voies, notamment celles d'une qualité " standard ", offrant une vitrine à des films censés jouer un rôle sur la scène de la diplomatie culturelle francophone ?

Der Artikel stellt die aktuelle Diskussion über Werteerziehung am Beispiel des brandenburgischen Faches LER (Lebensgestaltung/Ethik/Religionskunde) in den wissenschaftsgeschichtlichen Kontext des Werturteilsstreits um Max Weber und leitet daraus Konsequenzen für die didaktische und institutionelle Konzeptionalisierung ab. (DIPF/Orig.) ; The recent discussion on value education as illustrated by the school subject "LER" (life styles, ethics and religion) taught at schools in Brandenburg is placed in the historical context of the dispute on value judgement in the sciences triggered by MAX WEBER and consequences for the didactic and institutional conceptualization are deduced. Among the demands placed on both pedagogics and the school by modern politics that for "value education" has more or less become a commonplace in the rhetoric of educational policy. While, during the 1980s, this demand was still considered a mark of conservative educational policy, today a general consensus seems to have been achieved among the parties. Ulis political preamble revived the old debate on moral education in both pedagogics and didactics, because it seemed to offer a possibility to finally translate into practice KOHLBERG'S multi-stage theory of moral development, which had been discussed since the late 1970s. Yet, besides the enormous amount of pedagogical literature published in the different disciplines taking part in the debate (ethics, religion, politics), the demand for value education is hardly reflected in either curricula or schedules. (DIPF/Orig.)