East China Normal University Press Ltd. (ECNUP), established in 1957, is one of the two oldest publishers in China specializing in education publicationsas well as the top-ranking publisher in education. ECNUP is the top publishing house in Shanghai, and ranks among China's top 100 presses.
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The German Cultural Forum for Central and Eastern Europe publishes richly illustrated non-fiction books about the cultural history of those areas of Central and Eastern Europe where Germans used to, or still do live. The carefully edited titles with elaborated appendices are written by well-known experts who are able to present information about Central and Eastern Europe in an attractive way by cultural travel guides or historical overview books. The Cultural Forum also edits an annual and a bimonthly magazine, Blickwechsel ("Change of perspective") and Kulturkorrespondenz östliches Europa ("Cultural Correspondence Central and Eastern Europe"). Furthermore, the Forum organizes popular lectures, discussions, readings, exhibitions, concerts, journalist trips, writer residencies and prize-givings.
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"I am Jugoslovenka" argues that queer-feminist artistic and political resistance were paradoxically enabled by socialist Yugoslavia's unique history of patriarchy and women's emancipation. Spanning performance and conceptual art, video works, film and pop music, lesbian activism and press photos of female snipers in the Yugoslav wars, the book analyses feminist resistance in a range of performative actions that manifest the radical embodiment of Yugoslavia's anti-fascist, transnational and feminist legacies. It covers celebrated and lesser-known artists from the 1970s to today, including Marina Abramovic, Sanja Ivekovic, Vlasta Delimar, Tanja Ostojic, Selma Selman and Helena Janecic, along with music legends Lepa Brena and Esma Redzepova. "I am Jugoslovenka" tells a unique story of women's resistance through the intersection of feminism, socialism and nationalism in East European visual culture.
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In the 1920s and 1930s, anthropology and ethnography provided new and striking ways of rethinking what art could be and the forms which it could take. This book examines the impact of these emergent disciplines on the artistic avant-garde in Paris. The reception by European artists of objects arriving from colonial territories in the first half of the twentieth century is generally understood through the artistic appropriation of the forms of African or Oceanic sculpture. The author reveals how anthropological approaches to this intriguing material began to affect the ways in which artists, theorists, critics and curators thought about three-dimensional objects and their changing status as 'art', 'artefacts' or 'ethnographic evidence'. This book analyses texts, photographs and art works that cross disciplinary boundaries, through case studies including the Dakar to Djibouti expedition of 1931-33, the Trocadéro Ethnographic Museum, and the two art periodicals Documents and Minotaure. Through its interdisciplinary and contextual approach, it provides an important corrective to histories of modern art and the European avant-garde. ;
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This volume is timely in that it explores key issues which are currently at the forefront of the EU's relations with its eastern neighbours. It considers the impact of a more assertive Russia, the significance of Turkey, the limitations of the Eastern Partnership with Belarus and Moldova, the position of a Ukraine in crisis and pulled between Russia and the EU, security and democracy in the South Caucasus. It looks at the contested nature of European identity in areas such as the Balkans. In addition it looks at ways in which the EU's interests and values can be tested in sectors such as trade and migration. The interplay between values, identity and interests and their effect on the interpretation of europeanisation between the EU and its neighbours is a core theme of the volume.
A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. This English translation of Über das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.
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The art of poverty is the first book in English to analyse depictions of beggars in sixteenth-century European art. Featuring works from Germany, the Low Countries, Britain, France and Italy, it discusses a diverse body of imagery in many different media, from crude woodcuts to monumental church altarpieces. It develops a striking thesis, arguing that these works largely conformed to two paradoxical, though mutually supportive, representational approaches. The earlier chapters follow the emergence of a trenchantly negative approach in Northern art, in which beggars are shown as vagabonds, whose idleness and thievery threatened the values of sixteenth-century society (especially its growing emphasis on the need to work). In the other predominant visual mode, beggars are exalted as examples of sacred purity. In many Italian religious paintings, beggars are morally exalted with reference to sacred texts, and made formally beautiful with reference to revered artistic models. Though these approaches reflect the impact of religious reform, it is shown that, by the end of the century, they happily co-existed within Protestant and Catholic cultures. The final part of the book is concerned with the issue of artistic style and with the growing tendency of the beggar image to mediate and dissolve the didactic traditions through which it had originally been defined. The art of poverty will be of special interest to scholars and students of Renaissance art history, and its progressive approach and cross-disciplinary theme and perspective will also make it vital reading for those concerned with the development of early modern European culture. ;
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In an age when engraving and photography were making artistic images available to a much wider public, artists were able to influence public attitudes more powerfully than ever before. This book examines works of art on military themes in relation to ruling-class ideologies about the army, war and the empire. The first part of the book is devoted to a chronological survey of battle painting, integrated with a study of contemporary military and political history. The chapters link the debate over the status and importance of battle painting to contemporary debates over the role of the army and its function at home and abroad. The second part discusses the intersection of ideologies about the army and military art, but is concerned with an examination of genre representations of soldiers. Another important theme which runs through the book is the relation of English to French military art. During the first eighty years of the period under review France was the cynosure of military artists, the school against which British critics measured their own, and the place from which innovations were imported and modified. In every generation after Waterloo battle painters visited France and often trained there. The book shows that military art, or the 'absence' of it, was one of the ways in which nationalist commentators articulated Britain's moral superiority. The final theme which underlies much of the book is the shifts which took place in the perception of heroes and hero-worship.
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Representing Renaissance art, c.1500-c.1600 is a study of change and continuity in the iconographies of art and the visual representation of artists during the sixteenth century, especially in Italy and the Netherlands. The issue of how, and how far, artists obtained higher status for their profession during the Renaissance is a key question for the study of the early modern period. This book considers the maintenance of well-established traditions for the visual representation of artists, and also examines the new iconographies that emerged in the sixteenth century. By highlighting art and architecture that artists designed for their personal use, including the decoration of their houses, this study provides insight into the tastes and 'ways of looking' specific to artists. By examining the visual evidence we see the opinions both of artists who expressed their views in literary texts, and additionally those of artists who did not publish their ideas in written form.
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This volume features new research on Russia's historic relationship with Asia and the ways it was mediated and represented in the fine, decorative and performing arts and architecture from the mid-eighteenth century to the first two decades of Soviet rule. It interrogates how Russia's perception of its position on the periphery of the west and its simultaneous self-consciousness as a colonial power shaped its artistic, cultural and national identity as a heterogenous, multi-ethnic empire. It also explores the extent to which cultural practitioners participated in the discursive matrices that advanced Russia's colonial machinery on the one hand and critiqued and challenged it on the other, especially in territories that were themselves on the fault lines between the east and the west.
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This book examines how Ireland's relationship with the EU was affected by a succession of crises in both the Republic of Ireland and Northern Ireland. The financial crisis, the Brexit crisis and the migration crisis were not of equal significance on the island of Ireland. The financial crisis was a huge issue for the Republic but not Northern Ireland, Brexit had a major impact in both polities, the migration and populism issues were less controversial, while foreign policy challenges had a minimal impact. The book provides a summary of the main features of each of the crises to be considered, from both the EU and the Irish perspective. Ireland and the European Union is the first volume of its kind to provide a comprehensive analysis on British-Irish relations in the context of Brexit. It assesses the Withdrawal Agreement and Protocol on Ireland/Northern Ireland, the devolution settlement and the 1998 Agreement, as well as the European dimension to Northern Ireland's peace process. The contributors explore a number of policy areas that are central to the understanding of each of the crises and the impact of each for Ireland. Chapters examine issues such as security, migration and taxation as well as protest politics, political parties, the media, public opinion and the economic impact of each of these crises on Ireland's relationship with the EU.
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Now available in paperback for the first time, this study of the modern London art market establishes the central importance of London for the development of the modern retail market in fine art. Leading experts track the emergence and development of the structures and practices that have come to characterize the commercial art system, including the commercial art gallery, the professional dealer, the exhibition cycle and its accompanying rhetoric of press coverage and publicity, and an international network for the circulation of goods. This new commercial system involved a massive transformation of the experience of viewing art; of the relationships between artists, dealers, collectors, art objects and audiences; and of the very criteria of aesthetic value itself. Its history is thus a vital part of the history of modern art, and this anthology will be of interest to art historians as well as scholars of Victorian Studies, Museum Studies, and Social History.
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This volume foregrounds racial difference as a key to an alternative history of the Central and Eastern European region, which revolves around the role of whiteness as the unacknowledged foundation of semi-peripheral nation-states and national identities, and of the region's current status as a global stronghold of unapologetic white, Christian nationalisms. Contributions address the pivotal role of whiteness in international diplomacy, geographical exploration, media cultures, music, intellectual discourses, academic theories, everyday language and banal nationalism's many avenues of expressions. The book offers new paradigms for understanding the relationships among racial capitalism, populism, economic peripherality and race.
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Over the course of the long nineteenth century, Civilisation was the subject of some of the most prominent public mural paintings and sculptures in Europe and the United States, especially those that speculated on the direction of history. It also underpinned Western depictions of non-Western societies and evaluations of social progress and artistic excellence. The essays in this volume explore the ways in which the idea of Civilisation acted as a lens through which Europeans and Americans represented themselves and others, how this concept reshaped understandings of historical and artistic development, and also how it changed and was put to new uses as the century progressed. This collection will prove invaluable to students and academics in both history and art history.
