Alter-transitional justice; transforming unjust relations with the more-than-human

Drawing on the emerging field of multispecies justice, this article seeks to understand how the idea of transitional justice, capaciously understood, might be put to work to transform unjust relations between humans and the more-than-human. Reflecting on concerns in the literatures on animals and the environment concerning the cogency of addressing past wrongs against the more-than-human by using a justice framework, the article sets out a foundational agenda for transitional justice and a conceptual framework responsive to the ontological diversity of beings and communities other than humans. Focusing on soil specifically, the article explores the problem of developing transitional justice approaches for transforming relations that involve systemic violence where such violence is not acknowledged because the harmed being – soil – is not recognized as the type of community to which justice might be owed. To illustrate proto-transitional justice, the article considers both the work of regenerative farmers and emergent collaborations between farmers and visual artists to explore how engagements with the arts of relating to the more-than-human might move the as yet private transformations of relations with soil into a more public, albeit incipient, process of justice.

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Accidents Happen: An Art Autopathography on Mental Disability

Disability Studies Quarterly ◽

10.18061/dsq.v33i1.3441 ◽

2012 ◽

Vol 33 (1) ◽

Author(s):

John Derby

Keyword(s):

Mental Illness ◽

Creative Writing ◽

Conceptual Framework ◽

Mental Disability ◽

Font Size ◽

Research Practices ◽

The Arts ◽

Art Practices ◽

Institutional Contexts ◽

Literary Arts

This essay uses Couser’s presentation of autopathography as a frame for disseminating creative autoethnographic research practices. The preface outlines the conceptual framework for the research, which critically explores personal, cultural, and institutional contexts of mental disability discourses in response to Foucault’s thesis that the arts dismantle normalizing myths about mental disability. Following Foucault’s treatment of visual, performing, and literary arts as a homogeneous entity, the ensuing story demonstrates how traditional and emerging art practices and creative writing can be hybridized to create complex representations of disability that challenge ableist, normalizing discourses.keywords: art, autopathography, hybridity, mental illness, mental disability

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Brecht’s Anti-Theatricality? Reflections on Brecht’s Place in Michael Fried’s Conceptual Framework

Journal of Visual Culture ◽

10.1177/1470412917694514 ◽

2017 ◽

Vol 16 (1) ◽

pp. 28-42 ◽

Cited By ~ 1

Author(s):

Phoebe von Held

Keyword(s):

Conceptual Framework ◽

Bertolt Brecht ◽

Antonin Artaud ◽

The Arts ◽

Modernist Project ◽

Theatrical Strategies

In ‘Art and Objecthood’ (1967), Michael Fried articulates an uncompromising rejection of the theatre. His critique reaches as far as to expel the theatre from the realm of the arts and excludes it from the Modernist project. However, he exempts two theatre vanguardists from his argument, Bertolt Brecht and Antonin Artaud, who in his view developed anti-theatrical strategies as part of their aspirations to reform the theatre. This article examines whether Fried’s inclusion of Brecht into his anti-theatrical paradigm was justified or whether it was mere appropriation. It furthermore probes into Fried’s category of anti-theatricality within the conceptual framework of Brecht’s dramaturgical reflections and its validity as a key marker of Modernism.

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The Philosophical Enquiry, theories of the sublime and the sister arts tradition

The challenge of the sublime ◽

10.7228/manchester/9781526117397.003.0002 ◽

2018 ◽

Author(s):

Hélène Ibata

Keyword(s):

Point Of View ◽

Visual Artists ◽

Verbal Representation ◽

The Sublime ◽

The Arts ◽

Sister Arts ◽

Isolated Point

This first chapter emphasises what Burke’s Enquiry owes to the existing discourse on the sublime (to Longinus and Addison in particular), in order to highlight its innovations, more specifically its aesthetically stimulating irrationalism and sensualism. It then focuses on Burke’s unique distinction between visual and verbal representation, his rejection of their common mimetic basis, and his argument that only the non-mimetic, suggestive medium of the verbal arts, language, may impart the sublime. At a time when parallels between the arts prevailed, this was an isolated point of view, which introduced a new paragone situation, and a challenge to visual artists. The end of the chapter examines a number of competing theories of the sublime that were compatible with painting, which makes it possible to enhance the specificity of the Enquiry and the paradox of its appeal to visual artists.

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The Cognitive Neuroscience of Aesthetic Experience

10.1093/oso/9780197513620.003.0008 ◽

2021 ◽

pp. 36-40

Author(s):

Marcos Nadal ◽

Marcus Pearce

Keyword(s):

Conceptual Framework ◽

Cognitive Neuroscience ◽

Aesthetic Experience ◽

Biological Mechanisms ◽

The Arts ◽

Scientific Disciplines ◽

Aims And Scope

In the paper discussed in this chapter, the authors aimed to develop a consensus conceptual framework for neuroaesthetics. They wanted to present a joint vision of what they believed neuroaesthetics was about. The authors aspired to outline the fields’ aims and scope in a way that would accommodate most researchers, to answer some of the criticisms that had been leveled at the field, and to show how much the field could contribute to scientific disciplines, like psychology and neuroscience, and to humanist disciplines, like philosophy, the arts, and anthropology. One of the main points made was the importance of distinguishing between a cognitive neuroscience of aesthetics concerned with the biological mechanisms involved in aesthetic experience of all sorts of domains (not just art) and a cognitive neuroscience of art, which investigates the biological mechanisms involved in creating and appreciating art (not just aesthetically).

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The Arts of Transitional Justice

10.1007/978-1-4614-8385-4 ◽

2014 ◽

Cited By ~ 14

Keyword(s):

Transitional Justice ◽

The Arts

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Abstract Art and Left-Wing Politics in the Weimar Republic

Central European History ◽

10.1163/156916104322888998 ◽

2004 ◽

Vol 37 (1) ◽

pp. 49-90 ◽

Cited By ~ 1

Author(s):

Vernon L. Lidtke

Keyword(s):

Political Parties ◽

Weimar Republic ◽

Social Reform ◽

Public Life ◽

Abstract Art ◽

Social Revolution ◽

Left Wing ◽

Visual Artists ◽

The Arts ◽

The World

In the midst of the upheaval created by military defeat, the collapse of the Hohenzollern and other German monarchies, and the threat of radical social revolution, a movement that had been taking shape for some time became a visible presence in German public life. Intellectuals, writers, visual artists, and numerous others declared that they would no longer remain aloof from the world of politics, social reform, and even revolution. On the contrary, they would seek to merge the arts and politics into a synthesis that would help to mold a new and greatly improved society. They issued manifestos and programs, founded organizations and journals, joined political parties — primarily on the left — and went to the streets, at least to observe if not also to act. The majority of the participants in this movement were, at some point in their careers, part of new artistic trends and, as such, contributors to the formation and advancement of aesthetic modernism in Germany.

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Bruder und Schwester wie Wort und Bild?1

Book 2 0 ◽

10.1386/btwo_00030_1 ◽

2020 ◽

Vol 10 (2) ◽

pp. 201-216 ◽

Cited By ~ 1

Author(s):

Kevin Crossley-Holland

Keyword(s):

Young Children ◽

Picture Books ◽

Visual Artists ◽

Line Drawings ◽

The Arts ◽

Working Together ◽

Havelok The Dane ◽

At Home

Throughout my writing life, I have collaborated with many visual artists − painters, etchers, wood-engravers, lino-cutters, watercolourists, photographers, even a stone carver; 37, I believe, not including occasional exchanges with illustrators of foreign editions of my books. For this article, I’ve chosen six artists to represent very different ways of working together. It hasn’t been easy to set aside such superb and eminent artists as Brian Wildsmith, who illustrated my first novel, Havelok the Dane (1964) and whose spirited, meticulous line drawings, with their replacement characters and glue and whiteout still hang on my walls at home. It was difficult, too, to omit Margaret Gordon: she and I made three picture books together, one of which, The Green Children, won the Arts Council Award for the Best Book for Young Children 1966–68. And John Hedgecoe – cussed, determined, imaginative, immensely talented, generous and a great photographer, with whom I worked on my Norfolk Poems (1970) – who persuaded me to wade fully clothed up and down muddy back-creeks, with strings of seaweed around my neck. But after some deliberation, the six visual artists I’ve chosen to write about are: Charles Keeping, John Lawrence, Andrew Rafferty, Norman Ackroyd, Jane Ray and Jeffrey Alan Love.

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Too Muslim or not Muslim enough? Exploring identity negotiations for women visual artists in Australia

Journal of Sociology ◽

10.1177/14407833211021499 ◽

2021 ◽

pp. 144078332110214

Author(s):

Elizabeth Ralph ◽

Margaret Gibson

Keyword(s):

Cultural Background ◽

Religious Communities ◽

Visual Artists ◽

Research Project ◽

Identity Negotiations ◽

The Arts ◽

Identity Markers

The title of this article is deliberately provocative aiming to trouble the imposition of identity fixations and reductive assumptions on creative endeavours and outputs. This article is based on a research project which investigated the identity negotiations and representational responsibilities of women visual artists of Muslim faith and/or cultural background practising and exhibiting their artwork in Australia. This article shows how artists sometimes embrace certain identity markers in order to gain opportunities and promote forms of visibility and debate. At the same time, artists can feel the limitations of being pigeonholed and scrutinised because they have not met the normative and moral expectations of their cultural and religious communities as well as those of communities and organisations associated with the arts sector they have been associated with or with which they may wish to have a future association.

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