Power,ideology and economy cultural policy in China

Abstract: Relying on the institutionalist framework, much literature conflating the structures of public action in the field of culture has been produced (e.g. papers concerning the targets of cultural administrations, levels of action, ways of financing cultural policies). In this context, cultural institutions have been considered as something given, but the question of their origins and shape has hardly ever been at stake. In other words, institutionalist theories make comparisons possible, but they deny any form of inner life to cultural administrations. It allows one to make static comparisons, but it fails to explain why national cultural administrations differ from each other. Hermeneutic philosophy mixed with historical institutionalism could then be used to refine traditional models. My point will be made with references to the French and American case-studies.     

Max Pulver’s Himmelpfortgasse: Fictionalizing the 1920s Cocaine Craze in German-Speaking Europe

Abstract

In the years following the end of the First World War, cocaine achieved unprecedented popularity in Europe, a development reflected in the number of novels dealing with cocaine use by writers from across the Continent. One such is Max Pulver’s Himmelpfortgasse, first published in 1927, which tells of a Munich-based intellectual torn between his respectable bourgeois existence and his cocaine-fuelled passion for a young Viennese painter. After a brief interlude in Berlin, the protagonist follows his new love to Vienna, but their relationship soon deteriorates. The plot of the novel is unremarkable, but its depiction of three separate cocaine-using cliques, each based in a different city and each with a distinct social position and political orientation, vividly illustrates the extent to which recreational use of cocaine spread across geographical, socio-economic, and ideological divides in the period in question. Moreover, the narrator’s essayistic reflections on the function, effects, and social practice of cocaine use allow for productive cross-reading with contemporary toxicological sources. Pulver’s novel also occupies a curious position in literary history. As well as being one of several European cocaine novels of the inter-war period, it shows substantial thematic and stylistic links to the treatment of cocaine in the writings of Expressionist poet Gottfried Benn dating to the previous decade. Himmelpfortgasse’s Expressionist elements add to its distinctiveness, but have probably also contributed to the novel’s relative lack of commercial and critical success.     

Indexing the great ledger of the community: urban house numbering, city directories, and the production of spatial legibility

Despite the recent focus on the spatial politics of calculation, few studies have explored the historical geography of house numbering, a spatial practice that has arguably been one of the principal strategies for rationalizing the geographic spaces of everyday life over the course of the last two centuries. This paper provides the beginnings of a critical spatial history of street and house numbering in the gridded cities of the United States since the eighteenth century. City directory publishers were among the leading proponents of numbering houses at a time when many local governments had yet to firmly commit to systematic house numbering as an essential responsibility of the local state. I therefore examine the connection between the publishing of city directories and the development of urban house numbering systems, both of which were integral to the production of spatial legibility and the individualization of the urban population. The notion of viewing the city as a ‘text’ is historicized through a critical analysis of the modernist comparison of urban space to a recordkeeping book. The paper concludes by tracing the institutionalization of house numbering as a practice of spatial governmentality.     

《四库全书总目》史部提要的理论价值

清代乾嘉时期学者编纂《四库全书总目》,其中的史部书籍提要不仅对历史文献的考异纠谬具有重大价值,而且是中国古代史学批评方面的一项系统工程,包含着非常鲜明的史学批评标准和原则,为乾嘉史学乃至整个中国古代史学的理论与方法论增添了极其厚重的内容。     

The cultural geographies of Abstract Expressionism: painters,critics, dealers and the production of an Atlantic art

In this article I propose that the artistic genre of Abstract Expressionism which emerge d from New York in the late 1940s provides an illustrative example of the way a productive, trans-national geographical framework can be provided by exploring the cultural geographies of the Atlantic world. By drawing on the ways Abstract Expressionism was constructed and promoted within the rigid national perspective of 1950s' US cultural policy and reacted against in Britain and Europe on similarly nationalistic terms, I show how the circulatory exchange of cultural flows reveals a more co-produced understanding of these histories. The notion of a network of painters, dealers and critics is used to emphasize the way Abstract Expressionism was produced through a spatial framework which plays a constitutive, rather than purely connective, role. In doing so I draw particular attention to the period from the early 1950s to the 1960s and the artistic activity and critical writing associated with New York City and the Cornish coastal town of St Ives.

Les géographies culturelles de l'Expressionnisme Abstrait: les peintres, les critiques, les marchands et la production d'un art de l'Atlantique

Je propose dans cet article que le style artistique de l'Expressionnisme Abstrait, né à New York à la fin des années 1940, fournit un exemple permettant d'illustrer la façon dont un cadre géographique productif et transnational peut être élaboré à partir d'une exploration des géographies culturelles de l'univers Atlantique. En prenant comme base les moyens par lesquels l'Expressionnisme Abstrait a été construit et s'est développé dans le cadre rigide et national de la politique culturelle américaine des années 1950 et s'est confronté à une Angleterre et une Europe tout autant nationalistes, je démontre comment l'échange circulaire des courants culturels permet de voir et de comprendre que ces histoires ont en partie été coproduites. La notion de réseau de peintres, de marchands et de critiques sert à souligner par quel moyen l'Expressionnisme Abstrait a été produit au travers d'un cadre spatial dont la fonction est constitutive plutôt que simplement de permettre de former des liens. Ce faisant, j'attire l'attention sur l'époque allant du début des années 1950 jusque dans les années 1960 et sur l'activité artistique et les écrits critiques qui sont liés de près à la Ville de New York et à Saint-Ives, village côtier de Cornouailles.

Las geografías culturales del Expresionismo Abstracto: pintores, críticos, marchantes y la producción de un arte atlántico

En este papel sugiero que el género artístico de Expresionismo Abstracto que surgió en Nueva York en los años 40 es un ejemplo ilustrativo de la manera en que se puede facilitar un productivo marco geográfico transnacional por una exploración de las geografías culturales del mundo atlántico. Las maneras en que se construía y promovía el Expresionismo Abstracto dentro de la perspectiva nacional rígida de la política cultural de los Estados Unidos de los años 50 y las maneras en que se reaccionaba contra ello en Gran Bretaña y Europa en términos igualmente nacionalistas sirven como ejemplo de cómo el intercambio circulatorio de flujos culturales revela una interpretación co-producida de estas historias. La idea de una red de pintores, marchantes y críticos sirve para destacar el modo en que el Expresionismo Abstracto fue producido por un marco espacial que juega un papel tanto constitutivo como conectivo. En particular destaco el período de los años 50 a los años 60 y también la actividad artística y la literatura crítica asociada con la ciudad de Nueva York y la ciudad córnica costera de St Ives.