scholarly journals V. S. Naipaul and George Lamming at the BBC: Reconsidering the Windrush Generation's Political Art

2021 ◽  
Vol 52 (1) ◽  
pp. 153-179
Author(s):  
Alex Fabrizio
Keyword(s):  
Phronesis ◽  
2002 ◽  
Vol 47 (2) ◽  
pp. 101-126 ◽  
Author(s):  
Marguerite Deslauriers

AbstractThis paper considers the distinctions Aristotle draws (1) between the intellectual virtue of phronêsis and the moral virtues and (2) among the moral virtues, in light of his commitment to the reciprocity of the virtues. I argue that Aristotle takes the intellectual virtues to be numerically distinct hexeis from the moral virtues. By contrast, I argue, he treats the moral virtues as numerically one hexis, although he allows that they are many hexeis 'in being'. The paper has three parts. In the first, I set out Aristotle's account of the structure of the faculties of the soul, and determine that desire is a distinct faculty. The rationality of a desire is not then a question of whether or not the faculty that produces that desire is rational, but rather a question of whether or not the object of the desire is good. In the second section I show that the reciprocity of phronêsis and the moral virtues requires this structure of the faculties. In the third section I show that the way in which Aristotle distinguishes the faculties requires that we individuate moral virtues according to the objects of the desires that enter into a given virtue, and with reference to the circumstances in which these desires are generated. I then explore what it might mean for the moral virtues to be different in being but not in number, given the way in which the moral virtues are individuated. I argue that Aristotle takes phronêsis and the political art to be a numerical unity in a particular way, and that he suggests that the moral virtues are, by analogy, the same kind of unity.


ARTMargins ◽  
2014 ◽  
Vol 3 (2) ◽  
pp. 31-59
Author(s):  
Carla Macchiavello

This paper centers on the problem of influence in Latin American art analyzing some of the changes its conceptualization underwent during the 1970s and 1980s. Taking the case of Chilean conceptual practices during Augusto Pinochet's dictatorship known as “escena de avanzada,” particularly the art actions of the collective CADA, and the isolationist discourses woven around it, this article attempts to reconnect what has been regarded as original political art forms to larger networks of relations where the question of what is proper to Latin American art was disputed.


2021 ◽  
Vol 11 ◽  
pp. 91-113
Author(s):  
Avital Zuk Avina

Colour in China has a long history of artistic, symbolic, religious, and mythological use. This paper takes the idea of colour as a meaningful element within Chinese society and introduces the use of visual colour grammar as a new way to identify and breakdown the use of colour within political art and propaganda posters. The use of colour has been adapted by visual linguists into its own unique visual grammar component, relaying much more information than just a symbolic transfer from sign to signifier. Meaning within political posters can be derived from regularities in use, presentation, and conventional meanings. Colour as a visual grammar component is expressed through the three metafunctions: ideational, interpersonal, and textual. This paper explores how the Chinese views on colour interconnects with the metafunctions of colour to look at the political posters of the PRC. I will discuss both the approach to art as a text that can be ‘read’ through visual grammar and present colour in the Chinese context as more than a symbol making device but as a meaning component in and of itself. 


Author(s):  
Friederike Pannewick

Abstract This chapter investigates a crucial turning point in the writing of Syrian dramatist Saadallah Wannous (1941–1997) in the late 1970s. This internationally acclaimed author belonged to a generation of Arab intellectuals and artists whose political and artistic identities were strongly shaped by the question of Palestine. After the Camp David Accords of 1978 and the resulting Egypt-Israel peace treaty, signed in 1979, Wannous attempted suicide and stopped writing plays for more than ten years. This chapter shows how the plays he published after this self-imposed silence moved away from a didactic, political theater and towards psychological studies focusing on individuals as well as minority and gender issues. This chapter asks whether the significant aesthetic and conceptual turn in Wannous’s work from the early 1990s onwards might go beyond the concerns of a specific individual artist. To what extent does it mark a generational shift in regard to the meaning and connotations of political art?


2021 ◽  
Vol 2021 (1) ◽  
pp. 15393
Author(s):  
Gloria Kutscher ◽  
Farah Kodeih ◽  
Henri Schildt ◽  
Mia Raynard
Keyword(s):  

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