Politics and Public Policy

Abstract

Donnersmarck's The Lives of Others has been widely praised as the first German film to confront the horrors of the East German communist regime. But the film's politics may be ambiguous. As critical as it is of East Germany, it does not offer a ringing endorsement of West Germany. For example, the film's playwright-hero seems to have artistic problems in the West, just as he did in the East. The film's equivocal attitude toward communism is epitomized by its apparently positive view of the Marxist author Bertolt Brecht. This essay compares The Lives of Others with Brecht's play The Good Person of Szechwan in an effort to understand Donnersmarck's attitude toward his East German predecessor and what it means for his larger view of communism and its relation to art.     

A Critical Reappraisal of Eustathios Makrembolites’ Hysmine and Hysminias

Abstract

Despite the massive amount of scholarly literature on Iconoclasm and its aftermath, there are really only two major publications that deal specifically and synthetically with ninth-century art. One of these is André Grabar's magisterial L'iconoclasme byzantin, a chronological analysis of monuments and texts; the other is Robin Cormack's short but insightful essay in Iconoclasm, the collection of papers originally presented at Birmingham in 1975, which asks ‘whether the discussion of religious images stimulated by Iconoclasm changed the nature of Byzantine Art’. My aim is rather different. Rather than presenting an encyclopedic overview, this article attempts to crawl into the fabric of Byzantine culture: to see and understand Byzantine art of the ninth century as the Byzantines saw and understood it. It follows that the material presented has not been segregated into the familiar (and often useful) categories of style, iconography, and context, for, to the Byzantines, the three were neither exclusive nor separable. For similar reasons, I have deemphasized any linear progression that might imposed with art historical hindsight on the distant past, and have thereby underplayed the flashes of innovation, novelty and erudition that such detachment allows. These sparks are probably more visible (and certainly more appealing) to twentieth-century art historians than they were to the ninth-century Byzantines, for whom, as we shall see, the power of tradition militated against individual creativity, and artists on the whole remained anonymous artisans. In my attempt to look at Byzantine art from the inside rather than from the outside I have, in other words, concentrated on the fluid interface between objects, and the shifting dialogue between objects and context. This is because what interests me here is how Byzantine ideas about art (their theories), Byzantine perception (how the Byzantines saw), and the artifacts themselves (the practice) come together in the ninth century: how art, that preeminent social construct, worked in the years after Iconoclasm.     

Everyone Begins as Fish & Captivated – by that

Abstract

An invited address in 1964 constitutes the pre-history of fractals, and a justification is given here why its publication is now of interest because of its interdisciplinary nature. Fractal geometry has been successful as mathematics and has – through computer graphics – pioneered a new art. But until 1975, the author's work was generally considered as premature. In the original address of 1964, which here follows the historical introduction, the author states the mathematical basis for his philosophy of the Second Stage of Indeterminism in Science. The term fractals was not coined until 11 years after the original address of 1964.     

Recent French archaeological work In Syria and Jordan

Abstract

The French connection with the late antique and Byzantine archaeology of the Levant is now more than a century old. Between 1864 and 1877 Melchoir de Vogue published his great Syrie Centrale: architecture civile et religieuse, a work which revealed for the first time the great richness of the archaeological record for the period. With its superb drawings and elegant plans it remains indispensable, especially since it describes some buildings, like the praetorium at Mismiyya, south of Damascus, which have long since disappeared. In these days when so much worthless nineteenth-century travel literature about the Middle East has been reprinted, it is sad that this masterpiece remains unavailable. The French Mandate for Syria and Lebanon from 1921 onwards gave a great impetus to these studies. Although most attention was given to great classical sites like Palmyra or Crusader ones like Crac des Chevaliers, late antiquity was not neglected and there was a growing interest in the deserted towns of the limestone hills of the north from J. Mattern, li travers les villes mortes de Haute Syre (Beirut 1944) and J. Lassus' study of the ecclesiastical architecture, Sanctuaires chretiens de Syrie (1947). This activity culminated in G. Tchalenko's great work Les villages antiques de fa Syrie du Nord (1958) which was based on field work done before 1939.     

Preparation for Deep Learning:

ABSTRACT

Norman H. Hardy is not a well-known historical character, so an element of salvage exists in bringing his art and book illustration to a wider audience. His short career as an artist with the Sydney Mail and the 68 paintings in The Savage South Seas in 1907 open up a wider discourse concerning the links between art and photography, between visitation and recording in the field, between art and journalism, and between popular imagination and the publishing practices for illustrated travelogues. Hardy's paintings of Papua, Solomon Islands and New Hebrides reached a wide audience and provide a close-up, intimate record of Indigenous life in the islands, as well as hinting at complex encounters between Islanders and traders. The visual evidence in The Savage South Seas also contributes to debates about the motivations of early 20th-century Euro-American travellers, authors and purchasers of books on the Pacific and provides yet another citation of notions of faraway lands and people in the Pacific as perceived by distant readers and audiences.     

Spinoza on art and the cultivation of a disposition toward joyful living

ABSTRACT

This paper forms part of a larger project which seeks to derive a theory of art from a close reading of Spinoza's work. It focuses on the importance of the aligned terms of ingenium and dispositio, which are both used to discuss the central importance of “dispostion” to our capacity to live well. While it is not possible to avoid affects, it is possible to order them in such a way that their negative impacts are lessened and their positive impacts are enhanced. We begin by underlining the importance of disposition to opening the way to understanding. We connect this to Spinoza's acknowledgement of the importance of art in helping to provide a plan for living. We turn to readings of ingenium in the work of Moreau and Balibar to further explore how the concept of disposition helps us to recognise the capacities of works of art to affect their audiences.     

Ruskin's Modern Painters and the Visual Language of Reality

Abstract

Ruskin, the most influential mid-Victorian aesthetician, has typically been affiliated by critics with one of two incongruous regimes of thought; late English romanticism or an emerging counter-paradigm of factual science. Unwilling to refine this opposition, criticism has failed so far to address the relationship Ruskin bears to a native British intellectual tradition of sceptical empiricism. Beginning by arguing that his early writing on aesthetics ought to be distanced from the cultural legacies of romanticism (intuitive psychology, transcendental order, mysticism), this article offers a re-examination of Modern Painters (1843–60) as a work that intersects instead with the associationist tradition represented in the mid-century by writers like Alexander Bain and G. H. Lewes. Ruskin's realism, I argue, can be rethought in these terms as it dramatises a similar model of subjectivity to that found in their key psychological works; a model whereby the self must paradoxically be sacrificed before the object it seeks to know while also authenticating art's truthfulness through the testimonies of perspective and personality. Discussion ranges from visual art, including Turner and Canaletto, to the psychological theory of Lewes and Bain, to detailed analysis of the form and meaning of Modern Painters itself, uncovering the powerful critique of mimesis that its surprising philosophical inheritance implies.     

Controlling the Waters of Granducal Florence: A New Look at Stefano Bonsignori's View of the City (1584)

ABSTRACT

A striking feature of Stefano Bonsignori's Nova pulcherrimae civitatis Florentiae topographia accuratissime delineata, printed in 1584, is the pre-eminence of the Arno River and the detailed depiction of a variety of often quite minor water-related structures. This large (nine-sheet) map was dedicated to Francesco I de' Medici, Granduke of Florence. Contemporary initiatives and legislation as well as works of art and literature reveal that water management had been an important aspect of the policies of Francesco's father, Cosimo I, whose achievements had transformed the city's landscape and whose efforts earned the Medici ruler the title of Granduke of Tuscany in 1569. Bonsignori's portrayal of urban structures was created as a celebration of Cosimo's architectural legacy, and the depiction of the Arno, with its embankments and riverside structures, along with some of the city's fountains and wells, acknowledged granducal ambition to control its waters.     

The crisis of the Italian state: then and now

Abstract

The article argues that Patrick McCarthy's Crisis of the Italian State was a book of great value by an author who was a partisan in the struggle to reform the Italian political system. The book's argument that lasting reform of Italian politics is only possible if middle class Italians begin to act as citizens, rather than as clients who regard the state as a source of potential largesse, has proved to be a far-sighted one, although at the time it seemed simplistic. Many of Italy's current troubles stem from the failure of Italy to go beyond the ‘overworked state’.     

Heroes and Political Communities in John Ford's Westerns: The Role of Wyatt Earp in My Darling Clementine

Abstract

Widespread moral corruption, particularly of the sort fostered by their internal security agencies, was a key feature of communist regimes. The Lives of Others provides a dramatic portrayal of this phenomenon as it occurred in East Germany. The film can appear, given its central story of the moral redemption of a Stasi officer through his becoming intrigued by the lives of artists, to be an overly idealistic or audience-pleasing testament to the humanizing power of art. But the film also reveals the possible moral corruption of the artists. This essay provides a typology of the sorts of moral corruption exemplified by the situations of different characters in the film and shows that the main artist is actually saved from his impending corruption by the Stasi officer's actions. This reciprocal rescue is the key feature of the film's plot; it teaches that while art can undermine and resist totalitarian corruption, it is also susceptible to its snares—especially when it apolitically relies upon its own resources.     

Prophetic Perfectionism: The Afterlives of Nat Turner and John Brown

ABSTRACT

Recent fiction, film, art, and scholarship on nineteenth-century American abolitionists Nat Turner and John Brown shed light on the politics of their prophetic religion. Both men led violent rebellions against slavery for which they were executed. Prophetic perfectionism drove Turner and Brown but tended to fade in works about them. Exceptions to this pattern of reception include Jacob Lawrence's John Brown series (1941), Nate Parker's film The Birth of a Nation (2016), and Ted Smith's book Weird John Brown: Divine Violence and the Limits of Ethics (2014). This essay situates Turner's and Brown's prophetic perfectionism and their reception in the context of contemporary political theologies and aesthetics of religion and race.     

Tom Stoppard’s Big Picture: The Chaos that is Our World

Abstract

Issues arising from discussions regarding the ‘two cultures’ of science and art are many and varied. Tom Stoppard’s very active utilization of science in many of his plays has resulted in his work — especially the quantum mechanics-informed Hapgood and the chaotics-informed Arcadia — being held up as paradigmatic of one science/art position or another. Often, critical approaches to these plays involve a checklist of scientific facts, implying that the goal of such art is to serve as a delivery device for scientific breakthroughs. While plays, novels, and movies of various sorts may have such goals in mind, Stoppard’s plays do not comfortably fill that agenda, critical arguments to the contrary notwithstanding. Neither do Stoppard’s plays show particular interest in engaging any debate about the superiority of one ‘culture’ over the other. In his two ‘science plays’ in particular, what Stoppard offers is an enrichment of both science and art through metaphorical intertwinings that suggest experience is best served when both camps collaborate. The bigger picture that results argues an overlap in epistemology, namely revealing the uncanny similarity in which artist and scientist approach the material that is our universe.     

A challenge to the reigning theory of the just war

Troubled times often gives rise to great art that reflects those troubles. So too with political theory. The greatest work of twentieth century political theory, John Rawls's A theory of justice, was inspired in various respects by extreme social and economic inequality, racialized slavery and racial segregation in the United States. Arguably the most influential work of political theory since Rawls—Michael Walzer's Just and unjust wars—a sustained and historically informed reflection on the morality of interstate armed conflict—was written in the midst of the Vietnam War. It should be no surprise, then, that the bellicose period of the past 20 years should give rise to a robust new literature in political theory on the morality of armed conflict. It has been of uneven quality, and to some extent episodic, responding to particular challenges—the increased prevalence of asymmetric warfare and the permissibility of preventive or preemptive war—that have arisen as a result of specific events. In the past decade, however, a group of philosophers has begun to pose more fundamental questions about the reigning theory of the morality of armed conflict warfare—just war theory—as formulated by Walzer and others. Jeff McMahan's concise, inventive and tightly argued work Killing in war is without doubt the most important of these challenges to the reigning theory of the just war. This review article discusses McMahan's work, some of the critical attention it has received, and its potential implications for practice.     

The Durham Gentry and the Scottish March, 1370–1400: County Service in Late Medieval England

Abstract

The study of landed society has moved beyond the polarizing paradigms of 'community' and 'affinity', and now ensures a healthy respect for regional variation based upon numerous variables. In the North-East, it has long been understood that great landlords, secular as well as ecclesiastics, were critical to the defence of the Scottish March and were thus vested with a great deal of authority by Crown and country. It would therefore be very much to be expected that local landed society and politics would be dominated by the region's great affinities, such as those of the Nevilles and the Percies, along with that of the bishop of Durham. But close study of the landed community reveals a more complex picture, one in which members of the region's gentry often achieved real measures of independence, many attending their affairs far outside these great baronial retinues and households, and building wealth and careers over time independent of the region's great magnates, who exercised such a profound influence over national affairs. Their holdings, careers, and political activities are the main subjects of this essay.     

Ethics,politics and practices in rock art conservation

Abstract

Weathering and deterioration of Norwegian rock art has become an increasing area of concern over the last decade, with subsequent increasing efforts towards conservation. This has brought questions onto the agenda regarding the ethics and politics involved in conservation theory and practice. It is argued that such issues have been difficult to debate due to the concept of conservation being regarded as a legal and moral ideal. Referring the situation in Norway to ongoing global debates and perspectives regarding rock art conservation enables us to reveal and discuss some of the fundamental and complex philosophical issues involved. Notions of authenticity which implicitly underlie attitudes to rock art conservation are questioned, and the relationship between ‘green’ politics and rock art conservation is also discussed. A tendency towards uniform solutions and avoidance of critical issues, seen as influenced by strong social-democratic political traditions in Scandinavia, is at odds with the growing realization that most approaches to rock art conservation inevitably have unforeseen and frequently undesired consequences. Rather than further segmenting ethics, politics or practices in rock art conservation, a self-critical and reflective approach is suggested whereby changing concepts of ethics and authenticity are continuously debated.

Aucune loi ne pourra jamais préserver la sacralité d'un lieu … si ce n'est une loi morale, non écrite,adoptée et respectée par chaque individu, un véritable code personnel d'éthique.

(Soleilhavoup, 1994: 14)     

Visual and aural intellectual histories: an introduction

ABSTRACT

If the subject matter of intellectual history is the study of past thoughts, the intellectual history of the visual arts and music may be characterised as the study of past thoughts as they were expressed visually and aurally. Yet this is not always how an intellectual history of art and music has been practiced. More attention is often paid to verbal texts about art or music, rather than to the visual or the aural per se. If we accept that ideas can have visual and aural, as much as verbal form, then the histories of art and music are significant repositories of thoughts of individuals and networks of individuals (creative artists, patrons, institutions) within a given culture and period. But the ways in which those thoughts are articulated as aural or visual “texts”, and the ways in which they can be accessed by those who seek to understand them, will be specific to each art form, and represent a distinctive kind of intellectual activity in each field.     

The Concept of Corruption in J.G.A. Pocock's The Machiavellian Moment

SUMMARY

In the scholarship on the concept of political corruption, one frequently encounters the lamentation that the manner in which the concept is deployed in liberal modernity is insufficiently attuned to the richer sense in which the term was employed in the ‘civic humanist’ tradition. In these lamentations, the usual point of reference is J.G.A. Pocock's The Machiavellian Moment, a work that made corruption the central term of art in a political language stretching from the Renaissance to the eighteenth century and beyond. Certainly there is something quite attractive today about the ‘Machiavellian’ inflection of the term—our era is replete with the very things the protagonists of Pocock's story decried: debt, dependency, oligarchy, standing armies and the diminution of civic duties. But to what extent is Pocock's classic text a reliable guide for those studying the concept of corruption? This article suggests that Pocock uses the term in an excessively capacious manner, which both weakens his book's utility for understanding eighteenth-century political thought and undermines its power as a foundation for political critique by civic-minded anti-corruption reformers.     

The Unveiled Apple: Ethnicity,Gender, and the Limits of Inter-discursive Interpretation of Iranian Contemporary Art

In the past two decades, Iranian contemporary art has been eagerly embraced by international art venues. The transportation of artworks from Tehran to mostly western European and North American cultural centers entails inter-discursive translations that will render them legible for their reception in a new context. This paper argues that bound up in these translations are performative acts of language that label these artworks as markers of ethnic alterity, unexplored localities and most of the time associates them with issues of gender and femininity (and therefore limited to the vocabulary of “veil,” “plight of women” and “sexual inequality”). Looking at a seven-minute piece of video-art by Ghazaleh Hedayat entitled Eve's Apple (2006), the article examines this predicament and the possibilities for the artists to circumvent it. It argues that Hedayat's video enables an observation of the performative dominance of Western discourses of art history that mark the limits of inter-discursive interpretation in disciplines such as art history and art criticism.