Archaeology of the present. Israeli art after the Al-Aqsa Intifada

2021 ◽  
pp. 173-189
Author(s):  
Ewa Kędziora
Keyword(s):  
Public Opinion ◽  
Terror Attacks ◽  
Works Of Art ◽  
Art Scene ◽  
Second Intifada

The Al-Aqsa Intifada was the second Palestinian uprising that took place in 2000–2005. The dramatic record of the Intifada expressing itself in waves of recurring terror attacks and the construction of the separation wall on the border between Israel and Palestine overturned the Israeli-Palestinian relationship and triggered international public opinion. The article aims to determine how those events influenced the art scene. The study performs an overview of activities and artistic phenomena which occurred from 2000 through 2015 and problematized the events of the Second Intifada in various ways. The author focuses on individual works of art by both Israeli and international artists as well as art events and exhibitions of the leading kind. The analysis shows the extensive impacts of the Intifada on the artistic environment of that time and leads the author to the conclusion of the Intifada’s prevailing role in shaping politically engaged Israeli art at the beginning of 21 century. The dramatic events came up in creating a new aesthetic of the conflict, resulted in expanding a cultural boycott of Israel as well as challenged the position of politically engaged artists of Israel.

scholarly journals Disclosing a Transfer: Art and Religion in the Notebooks of Dominique de Menil

2020 ◽  
Vol 8 (2) ◽  
pp. 188-222
Author(s):  
Samuel O’Connor Perks ◽  
Rajesh Heynickx ◽  
Stéphane Symons
Keyword(s):  
Intellectual Development ◽  
Art World ◽  
Avant Garde ◽  
Figures Of Speech ◽  
High Profile ◽  
The Third ◽  
Works Of Art ◽  
Art Scene ◽  
Intellectual Context

Abstract The art collector and educator, Dominique de Menil (1908–1997) has mostly been remembered as a pragmatic orchestrator of high-profile commissions in the art world. However, little attention has been paid to her role as a thinker. This article seeks to address that lacuna in the literature by attending to an overlooked source in the Menil archives, de Menil’s notebooks, which were written between 1974 and 1994. By analysing de Menil’s use of metaphor in the notebooks, we place them within the trajectory of de Menil’s intellectual development stemming back to her 1936 article: ‘Pour l’unité du monde chrétien’. The first part situates the metaphors which de Menil employed in the notebooks from the 1970s in the intellectual context of her inception of these figures of speech in Montmartre, Paris in 1936. The second part unpacks a central metaphor which grounds de Menil’s conception of tradition. The third part compares de Menil’s art historiography vis-à-vis other models which sought to reinvigorate the avant-garde art scene via pre-modern sources. The Coda critically assesses de Menil’s art historiography against other prevalent views on the relation between pre-modern and modern works of art.

scholarly journals The Struggle for Palestinian Hearts and Minds: Violence and Public Opinion in the Second Intifada

2008 ◽  
Author(s):  
David Jaeger ◽  
Esteban Klor ◽  
Sami Miaari ◽  
M. Daniele Paserman
Keyword(s):  
Public Opinion ◽  
Second Intifada ◽  
Hearts And Minds

Ontological dissonance, clashing identities, and Israel's unilateral steps towards the Palestinians

2011 ◽  
Vol 38 (4) ◽  
pp. 809-833 ◽  
Author(s):  
AMIR LUPOVICI
Keyword(s):  
International Relations ◽  
Initial Response ◽  
Theoretical Framework ◽  
Security Threat ◽  
Ontological Security ◽  
Physical Security ◽  
Policy Makers ◽  
Terror Attacks ◽  
Attractive Option ◽  
Second Intifada

AbstractThis article further conceptualises and empirically tests the concept ofontological security. This concept, which refers to an actor's need to have a secure identity, has been used in International Relations (IR) mainly to study situations in which states face a threat to one of their identities. However, my focus here is on situations in which states are facing threats to a number of identities they hold, situations that result in what I termontological dissonance. In such cases, not only are various distinct identities threatened, but the solutions to ease these threats are contradictory, forcing the state to choose between different cherished values. I contend that in such situations avoidance can become an attractive option for states in dealing with the difficulties arising from this dilemma. This theoretical framework is used to explain Israel's unilateral steps toward the Palestinians in recent years. I argue that the terror attacks of theSecond Intifada(2000–2005) represented more than a physical security threat to Israel. The attacks and Israel's initial response to them aggravated threats to a number of Israel's identities and, more importantly, emphasised existing and potential future clashes among these identities. As a result, Israeli policy makers advanced unilateral steps to reduce these threats and to ease the accompanying ontological dissonance. These unilateral measures can thus be understood as measures of avoidance, and as such they complicated further cooperation between the Israelis and the Palestinians.

scholarly journals The struggle for Palestinian hearts and minds: Violence and public opinion in the Second Intifada

2012 ◽  
Vol 96 (3-4) ◽  
pp. 354-368 ◽  
Author(s):  
David A. Jaeger ◽  
Esteban F. Klor ◽  
Sami H. Miaari ◽  
M. Daniele Paserman
Keyword(s):  
Public Opinion ◽  
Second Intifada ◽  
Hearts And Minds

scholarly journals Dostoevsky: A Step into the Third Century (Observing the Inside as Observed from the Outside)

2021 ◽  
Vol 3 ◽  
pp. 5-11
Author(s):  
Vsevolod Evgenyevich Bagno ◽  
◽  
Keyword(s):  
Public Opinion ◽  
Human Nature ◽  
Third Century ◽  
Modern Life ◽  
The Public ◽  
International Language ◽  
The Third ◽  
Works Of Art ◽  
Stage Directors ◽  
The Aesthetic

An international language of interethnic communication emerges from Dostoevsky’s novels published in translations. The signifi cance of the pronouncements by various foreign cultural fi gures concerning the Russian writer is determined by the fact that today they shape the public opinion of tomorrow. They focus on Dostoevsky’s relevance for modern life, the universality and accessibility of his work for various periods and cultures. The multifaceted human nature, as refl ected in the works by Dostoevsky, is particularly obvious in the fact that various cultural fi gures see the writer’s various protagonists as the most compatible ones with the spirit of our time. The stage directors’ and moviemakers’ creative dialogue with Dostoevsky does not negate the fact that the value of his own „mes-sage“ is much greater than the aesthetic impact of the works of art he has inspired. The „dispute“ about Tolstoy and Dostoevsky has not been ignored either. According to the art activists of today, Dostoevsky novels help to shape the picture of Russia and the Russian folk. At the same time, though, they offer a true and profound picture of humanity and human nature in general.

scholarly journals Terror films: The socio-cultural reconstruction of trauma in contemporary Israeli cinema

2019 ◽  
Vol 25 (34) ◽  
Author(s):  
Yael Ben-Moshe ◽  
Tobias Ebbrecht-Hartmann
Keyword(s):  
Public Discourse ◽  
Traumatic Experience ◽  
The Public ◽  
Cultural Reconstruction ◽  
Terror Attacks ◽  
Feature Films ◽  
The Holocaust ◽  
Second Intifada ◽  
Israeli Cinema ◽  
Terrorist Violence

Ben-Moshe Yael, Ebbrecht-Hartmann Tobias, Terror films: The socio-cultural reconstruction of trauma in contemporary Israeli cinema. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 69–86. ISSN 1731-450X. DOI 10.14746/i.2019.34.05. The public discourse in Israel regarding events such as the Holocaust, war, or terror attacks mostly failed to embrace the trauma caused by such events, and to integrate their effects in the collective memory. According to trauma theoreticians, the location of trauma in the discourse is related to the character of trauma as a non-narratable memory, since personal trauma exist in the void, thus marking a missing memory. This paper explores the notion of trauma in contemporary Israeli cinema as it was reconstructed during and after the Second Intifada (2000–2008). The paper focuses on feature films reflecting on experiences of terrorist violence, among them Avanim (2004), Distortion (2004), Frozen Days (2006), The Bubble (2006), 7 Minutes in Heaven (2009). These films embrace parallel elements structuring a worldview, in the private as well as the collective sphere, thus shaping the surroundings as a mirror of the self and the subjective traumatic experience as a reflection of a complex social reality.A particular focus of our analysis will also be on aesthetic strategies that cinematically express rupture and distortion of terrorist violence and trauma, especially moments of suddenness and disruption in contrast to duration and circular repetition, elements of a specific temporality of trauma that also shaped the narration and style of recent Israeli war films, such as Waltz with Bashir (2008) or Beaufort (2007).

scholarly journals Il «Parnaso de’ moderni artisti»: le collezioni artistiche di Ambrogio Uboldo

MDCCC 1800 ◽  
2018 ◽  
Author(s):  
Paola Carrea
Keyword(s):  
19Th Century ◽  
Art Collections ◽  
Works Of Art ◽  
Virtual Reconstruction ◽  
Art Scene ◽  
Archival Document ◽  
The Future ◽  
Art Forms ◽  
Future Hospital ◽  
The 19Th Century

In March 1868, Vitaliano Crivelli and Giulio Sanpietro signed the appraisal of the Milanese banker Ambrogio Uboldo’s art collections, inherited by the future hospital located in his villa in Cernusco sul Naviglio: it was the beginning of an irreparable dispersion of works of art. Moving from that archival document, this essay aims to offer a virtual reconstruction of Uboldo’s gallery, also supported by the identification of a small number of the collection’s paintings. The range of subjects, art forms and genres (landscape and history paintings, portraits, sculptures and engravings) reflect the variety of relations established by the collector with the Milan art scene in the first half of the 19th century.

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