scholarly journals The Image of Politics in Art: Projecting the Oppression in Turkish Art Scene

2017 ◽  
Vol 6 (2) ◽  
pp. 339
Author(s):  
Ayşe Nahide Yilmaz
Keyword(s):  
Political Art ◽  
New Techniques ◽  
Coup D'etat ◽  
Art And Politics ◽  
Political Criticism ◽  
Works Of Art ◽  
The Social ◽  
Art Scene ◽  
Traditional Approaches ◽  
The Military

In the 1970s, Turkey's artistic milieu was mostly influenced by socialist realistic painters who demonstrated political criticism with a figurative understanding. The oppression that came with the coup d'état of September 12, 1980 aimed at a depoliticized society, and artists were then politically diverted to implicit and indirect ways. While direct intervention from the military or the civil government under its control rarely came, the artists and art institutions have even ended some kind of auto censorship. In a demoralized and depoliticized cultural environment, the works that embodied the 'social ghost' have both raised emotional and reactive objections and ironically created a sense of guilt in the audience. Being a spectator meant to be a victim, a judge, a witness, or maybe -in fact- all of these at once. The artist imagination reproducing the notions of authority and power in silenced societies has made conspicuous human rights violations, tortures, and executions through works of art. Artists, who counted art as a vehicle to change the world, have provided a deep dimension in art environment with a wide variety of knowledge and skills right along with new techniques and materials. In this work, there shall be many examples of artists and works of art that combine 'art politics' and 'political art' as a single thing, which goes beyond traditional approaches to art and politics in the intense and subversive political atmosphere of the 1980s in Turkey.

Social sciences in Brazil in perspective: foundation, consolidation and diversification

2005 ◽  
Vol 44 (2-3) ◽  
pp. 283-357 ◽  
Author(s):  
Hélgio Trindade
Keyword(s):  
Social Sciences ◽  
Cultural Context ◽  
Military Coup ◽  
International Exchange ◽  
Coup D'etat ◽  
Federal States ◽  
The Social ◽  
The University ◽  
The Military ◽  
The Impact

The article analyzes the development of social sciences in Brazil from a historical-sociological standpoint as seen through the construction of three disciplines: sociology, anthropology and political science. Beginning with the political and cultural context and the pre-sociology “essayism” phase, the author outlines the initial foundation and institutionalization of the social sciences (1934-64), which started with the foundation of the University of São Paulo and ended with the military coup d’état in 1964. He then goes on to analyze the crisis of the “Populist Republic” and the impact of the ideological radicalization on the social sciences, with an emphasis on the paradox of their simultaneous professionalization and consolidation through research and teaching under the military dictatorship (1965-83). Finally, the author turns to the democratic transition that ended in the “New Republic” (1984-2003), stressing the nationalization of the social sciences and the parallel diversification and split between teaching and research. The analysis of the three historical periods addresses the dynamics of the social sciences and their relationship with the central and the federal states, the hierarchy of disciplines, the dominant topics and international exchange. In conclusion, the author raises the question that is fundamental for the future, that of the crisis of national and international funding for the social sciences.

The synthetic proposition: conceptualism as political art

2017 ◽  
Author(s):  
Nizan Shaked
Keyword(s):  
Conceptual Art ◽  
Complex Method ◽  
Political Art ◽  
Art And Politics ◽  
Art Object ◽  
The Social ◽  
Martha Rosler ◽  
And Gender ◽  
Definition Of

This chapter takes a comparative look at several models of interdisciplinary conceptualist practices that responded critically to Conceptual Art’s original claims. Artists responded to a limitation they identified in the narrow focus of early Conceptual Art, and turned to the social, the political, and the “life-world,” external to the hermeneutic definition of art. When this second wind of conceptualism integrated external subject matter, it was no longer in the modernist sense of art and politics. Synthetic conceptualism incorporated the basic investigations of Conceptual Art to form a complex method of artmaking that was deconstructive just as it was referential. Artists integrated a meta-critique to reveal frameworks that endowed artistic language and strategies with pre-conceived meaning. Three artists exemplify this shift. Adrian Piper transitioned from an analysis of the art object as a factor of time and space to the role of cultural forms in formulating gendered and racialised social meaning; Mary Kelly from labour and gender issues to the discourse of the subject; and Martha Rosler from the documentary mode to the critique of representation in mass media.

The Forgotten Political Art Par Excellence? Architecture, Design and the Social Sculpting of the Body Politic

2016 ◽  
Author(s):  
Gabriel Rockhill
Keyword(s):  
Body Politic ◽  
The Body ◽  
The Political ◽  
Political Art ◽  
Social Body ◽  
Art And Politics ◽  
Collective Decisions ◽  
The Social ◽  
Historical Relationship

With a few rare but important exceptions, it is arguable that major contemporary debates on the historical relationship between art and politics—from the work of Lukács and Adorno to that of Lyotard and Rancière—have generally favored the visual arts and literature over and against architecture and urban design. However, as a few thinkers like Benjamin and Foucault have recognized, if there is one art that appears to be prototypically political (in the sense that it is almost inevitably the site of collective decisions that directly shape the social body while simultaneously being subject to multifarious communal appropriations), it is surely architecture. This paradox leads to a question of central importance, which serves to guide the analysis in this final chapter: why have many of the foremost philosophic debates on the historical relation between art and politics sidelined what is perhaps the political art par excellence? This leads to a critical re-examination of the metaphilosophical assumptions undergirding many of the standard historical narratives regarding the development of art and its relationship to politics.

scholarly journals Turkey Post 1980 Coup D’etat: the Rise, the Fall, and the Emergence of Political Islam

2014 ◽  
Vol 12 (1) ◽  
pp. 58-73
Author(s):  
Khash Hemmati
Keyword(s):  
Military Intervention ◽  
Political Islam ◽  
State Policies ◽  
Coup D'etat ◽  
The Social ◽  
Islamic Identity ◽  
The Military ◽  
Kemal Ataturk ◽  
Islamist Movement ◽  
Islamic Values

While it has often been perceived that Kemalist Turkey succeeded in firmly establishing secularization, the Islamist movement that followed the 1980 military intervention questioned the fundamental principles of Mustafa Kemal Ataturk by embracing Islamic identity and Islamic values in the social and public sphere. This paper will examine the rise, the fall, and the emergence of political Islam in Turkey following the 1980 coup d’état. Following the military intervention of 1980, the level of Islamic activism rose due to state policies during the 1980s and 1990s. It can be observed that the consequences of the Islamic tolerance during the 1980s and 1990s led to the rise and the fall of the Islamic leaning Welfare Party of Necmettin Erbakan. This paper will also explain how the Justice and Development Party (AKP) differed its policies from the Welfare Party, by blending a moderate Islamic identity with a pro-Western mentality, to achieve support and stability for Islamist politics.

Artistic-professional strategies in the music sector. The case of the jazz scene in Barcelona

2020 ◽  
pp. 145-163
Author(s):  
Marta Casals Balaguer
Keyword(s):  
Research Methods ◽  
Social Dimension ◽  
Artistic Identity ◽  
Professional Musicians ◽  
Main Research ◽  
Works Of Art ◽  
The Social ◽  
The Creation

This article aims to analyse the strategies that jazz musicians in Barcelona adopt to develop their artistic careers. It focuses on studying three main areas that influ-ence the construction of their artistic-professional strategies: a) the administrative dimension, characterized mainly by management and promotion tasks; b) the artistic-creative dimension, which includes the construction of artistic identity and the creation of works of art; and c) the social dimension within the collective, which groups together strategies related to the dynamics of cooperation and col-laboration between the circle of musicians. The applied methodology came from a qualitative perspective, and the main research methods were semi-structured inter-views conducted with active professional musicians in Barcelona and from partic-ipant observation.

Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni

2014 ◽  
Author(s):  
Dira Herawati
Keyword(s):  
Social Situation ◽  
Work Of Art ◽  
Social Phenomena ◽  
Aesthetic Object ◽  
Human Foot ◽  
Works Of Art ◽  
The Social ◽  
The Creation ◽  
Art Photography ◽  
Artistic Images

Accountability report is a written description of creative experiences as an artist or a photographer of aesthetic exploration efforts on the image and the idea of a human as a basic stimulant for the creation of works of art photography. Human foot as an aesthetic object is a problem that relates to various phenomena that occur in the social sphere, culture and politics in Indonesia today. Based on these linkages, human feet would be formulated as an image that has a value, and the impression of eating alone in the creation of a work of art photography. Hence the creation of this art photography entitled The Human Foots as Aesthetic Object  Creation of Art Photography. Starting from this background, then the legs as an option object art photography, will be managed creatively and systematically through a phases of creation. The creation phases consist of: (1) the exploration of discourse, (2) artistic exploration, (3) the stage of elaboration photographic, (4) the synthesis phase, and (5) the stage of completion. Methodically, through the phases of the creative process  through which this can then be formulated in various forms of artistic image of a human foot. The various forms of artistic images generated from the foots of its creation process, can be summed up as an object of aesthetic order 160 Kaki Manusia Sebagai Objek Estetik Penciptaan Fotografi Seni in the photographic works of art. It is specifically characterized by the formation of ‘imaging the other’ behind the image seen with legs visible, as well as of the various forms of ‘new image’ as a result of an artistic exploration of the common image of legs visible. In general, the whole image of the foot in a photographic work of art has a reflective relationship with the social situation, cultures, and politics that developed in Indonesian society, by value, meaning and impression that it contains.Keywords: human foots, aestheti,; social phenomena, art photography, images

Indonesian Historical Writing after Independence

2018 ◽  
Author(s):  
Ann Kumar
Keyword(s):  
Social Sciences ◽  
Historical Writing ◽  
Dutch Version ◽  
History Writing ◽  
Academic History ◽  
Artistic Representations ◽  
The Social ◽  
The Military ◽  
Local Perspectives

This chapter discusses Indonesian historical writing after independence. At the time Indonesia became independent, knowledge of academic history-writing was virtually non-existent. Indonesian elites then faced the postcolonial predicament of having to adopt Western nationalistic approaches to history in order to oppose the Dutch version of the archipelago’s history that had legitimized colonial domination. Soon after independence, the military took over and dominated the writing of history in Indonesia for several decades. Challenges to the military’s view of history came from artistic representations of history, and from historians—trained in the social sciences—who emphasized a multidimensional approach balancing central and local perspectives. However, it was only after 2002 that historians could openly criticize the role of the military.

Transnational Precursors of American Realism

2019 ◽  
pp. 17-39
Author(s):  
Renate von Bardeleben
Keyword(s):  
Gustave Flaubert ◽  
Honore De Balzac ◽  
Formative Period ◽  
Guy De Maupassant ◽  
Narrative Strategies ◽  
New Techniques ◽  
Fyodor Dostoevsky ◽  
Industrial Age ◽  
The Social ◽  
American Authors

This chapter concentrates on European realist innovators—Björnstjerne Björnson, Ivan Turgenev, Leo Tolstoy, Fyodor Dostoevsky, Honoré de Balzac, Gustave Flaubert, Guy de Maupassant—and their effect on the formative period of American realism. It studies in detail the transatlantic development of new techniques and discusses the ways in which these new methods were reflected in the works of American authors and critics. Inspired by the theories and practice of their precursors, American writers felt liberated to introduce new narrative strategies to represent America’s rising urbanism, the struggles of the social classes, and the increase of social mobility in the industrial age. They also dealt with the emancipated “New Woman” and the changing relationship between the sexes. The guiding principles on which writers on both sides of the Atlantic agreed were truth, sincerity, and frankness.

Post-Heroic Warfare Revisited: Meaning and Legitimation of Military Losses

Sociology ◽  
2017 ◽  
Vol 52 (5) ◽  
pp. 898-914 ◽  
Author(s):  
Kristian Frisk
Keyword(s):  
Social Order ◽  
Modern Society ◽  
Moral Worth ◽  
Second World War ◽  
World War ◽  
The Social ◽  
Military Engagement ◽  
Military Campaign ◽  
The Military ◽  
Second World

The article challenges the thesis that western societies have moved towards a post-heroic mood in which military casualties are interpreted as nothing but a waste of life. Using content analysis and qualitative textual analysis of obituaries produced by the Royal Danish Army in memory of soldiers killed during the Second World War (1940–1945) and the military campaign in Afghanistan (2002–2014), the article shows that a ‘good’ military death is no longer conceived of as a patriotic sacrifice, but is instead legitimised by an appeal to the unique moral worth, humanitarian goals and high professionalism of the fallen. The article concludes that fatalities in international military engagement have invoked a sense of post-patriotic heroism instead of a post-heroic crisis, and argues that the social order of modern society has underpinned, rather than undermined, ideals of military self-sacrifice and heroism, contrary to the predominant assumption of the literature on post-heroic warfare.

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