American Progressivism and the Obama Presidency

US progressivism is half espoused, half rejected, by an ambivalent if talented President. The Republican image of the President as ‘socialist’ is one which the social democratic Democrats wish were true. The President's readiness to compromise has not tempered the extreme hostility of the Republicans. It has been exploited by the political agents of business and finance. It has used by the permanent war party: the campaign against ‘terror’ enables it to retain mastery of foreign and military policy. The New Deal's heirs, seeking more social democracy and less militarism, are bereft of new forms of political action. US democracy is threatened by an eruption of cultural and religious fundamentalism, racism, and xenophobia, as well as a compulsive refusal of social solidarity. Withal, the situation is open as well as complex, and the President in the long run may be much more successful than his angry detractors and disappointed supporters allow.     

Progressivism in British Politics: Some Revisionist Themes

This article argues that a return to the history of progressive political thought can help us to think afresh about what a renewed centre‐left politics might look like today. The article identifies some significant aspects of this history that attracted little attention in earlier debates over the British progressive tradition—in particular, debates about social ownership, nationalism and distributism. This revisionist history of British progressivism points the way towards some common ideological ground that could provide a starting point for a new dialogue between different ‘progressive’ political parties and interests.     

The Promise of Progressivism: Herbert Croly and the Progressive Rejection of Individual Rights

Herbert Croly's Promise of American Life provides the theoreticalfoundations for many of America's twentieth-century politicalreform movements. Croly called for the adoption of Hamiltonianmeans to achieve Jeffersonian ends. To achieve this synthesis,however, Croly rejected Hamilton's arguments for institutionalchecks on a pure national democracy, and Jefferson's argumentsfor limited government. Croly rejected these elements in Hamilton'sand Jefferson's thought because they are tied to the liberaldoctrine of individual rights. Croly wanted to transcend thedoctrine of individual rights in order to create a nationalpolitical community—one that would be forged by a strongbut democratic national government. However, Croly failed tosee the connection between Jefferson's belief in democracy andhis belief in limited government, and he failed to see the connectionbetween Hamilton's belief in a strong national government andhis call for institutional checks on democracy. Thus, althoughmany American reform movements have their roots in the rhetoricof Croly's progressivism, to be effective they have had to accommodatethe principles of liberal individualism that Croly wished toeradicate.     

Brigalow bondage: Rural women and the arts

‘The arts’ is a field of activity and power which has traditionally been associated with ‘great men'; women have typically been represented as having only tenuous links with the field. However, in regional and rural areas, women are by far the major arts participants, organisers and educators, and tend to operate not as individuals, but as members of arts groups. Possibly as a corollary, while arts in rural areas recruits substantial community participation, the activity apparently receives little media coverage or support from governments or corporations, relative to other recreational activities.

In this paper I will discuss ‘the arts’ as a social practice, with its own internal rules and logic, and explore the social location of arts beyond the metropolis. To this end I will outline the results of my research to date in the field of arts in Central Queensland, drawing on policy statements and on interviews with (mainly women) rural art practitioners. The paper examines whether the logic of the field of arts changes when it is moved from the city to the bush, and discusses to what extent this can be attributed to the social position of women in rural communities. It attempts to engage with social relations in regional Queensland, and the incommensurability of the public and private spheres. That is, women arts practitioners are actively engaged in a public activity—dealing with funding, public relations and policy implementation—yet are perceived (and, typically, perceive themselves) to be operating largely within the private sphere. This suggests that modes of representation have greater material effects than empirical ‘realities’.     

Semiotics and performing arts: contemporary issues

ABSTRACT

Contemporary experiences highlight a crisis in representation which reveals itself through profound changes in the processes and instances at work in the postmodern/post-dramatic performance. As well at the level of production as at the one of reception, important transformations have occurred regarding action, feeling, perception of the stage, fragmentation, crisis of the body mediation, and crisis of the invariant supports of the performance. The consequences of those innovative processes are numerous: they influence the theoretical approaches, and among others the semiotic perspectives. Three types of questions about the relationship between semiotics and nowadays theatrical practices should be explored: First, the place of externality. By reconsidering the issue of the origin of meaning, as general semiotics does, the semiotics of performing arts opens the way for externalizing theories (embodiment, the study of bios/life, and theories of corporeity). Second, the issue of the researcher and in particular his or her exteriority regarding the object. This question points the demand of scientific rigor which characterizes recent research on the performing arts. A paradox which is virtually a dual injunction: the more ephemeral the object, the more imperious the need for scholarship. Although particularly relevant with regard to contemporary concerns centred on the subjectivity of the utterance (presence, effect of presence, intermediality, body–machine relations, etc.), does semiotics still have a universalizing vocation? How can one reproduce the experience of subjectivity?     

从金庸与大仲马武侠小说看中西方文化的差异

大仲马对金庸的创作影响极大.两人创作颇多异同之处.相同处表现为:热衷并取材于历史,都塑造了替天行道的侠客形象,将英雄人物的复仇由快意恩仇升华为替天行道,从而提升了作品的思想境界,等等.相异处表现为:一是对待历史的态度和处理方式不同;二是人物身上体现了作家不同的价值观念;三是价值取向上与文化内涵上体现了中西方文化的差异.这种比较,有助于深刻把握中西文学作品的精神内涵与艺术特质.     

Persuading the undecided: An interdisciplinary approach to increase public support for the arts

This paper uses an interdisciplinary approach to address the issue of lack of public support for the arts. The paper utilizes an acquisition- and transaction-value approach from marketing and economic theory to identify 4 segments that vary in the degree to which members of each segment value and support the arts. Using system 1 and system 2 processing styles as discussed in management literature, as well as central and peripheral routes to persuasion as studied in psychology, the segments are examined in order to understand their potential information-processing styles. Last, using advertising and communication theories, the paper proposes the use of information and transformational communication strategies to create better persuasive communications that match the processing styles of targeted segments of undecided decision makers in order to garner greater public support for the arts.     

The expanding galaxy of performing arts: extending theories and questioning practices

This paper introduces the Special Issue on the languages of performing arts and is therefore aimed at designing how the context of the latter can be illuminated by socio-semiotic and multimodal approaches to communication. In this Special Issue, performances and performing arts are described as multimodal semiotic acts that co-deploy a range of semiotic resources to produce and construct meanings across different cultures and ages. Seen as dynamic and interactive processes of meaning-making, their analysis calls for new and multidisciplinary frameworks which are collected in this Special Issue. The introduction gives an overview of these papers and discusses their range of diverse phenomena, both live and recorded, including theatre performances and films, art installations, opera, as well as reading out aloud. By outlining the significance and contribution of different disciplines and fields of studies to the broad area of performance studies, the chapter argues the case for innovative approaches that can extend theories and analyse aesthetic and performative practices in context. With the help of some case studies, it provides guidelines for the reading and interpretation of the several theoretical discussions and practical case studies presented to encourage further multidisciplinary research on these domains.     

Smart art: Whistler,British Columbia's brand transition to include arts and culture

The importance of city and destination branding is well studied. Cities and regions choose to pursue branding efforts for a variety of reasons. Some regions that choose to invest in branding are looking to reposition their brand to encompass arts and culture in order to stimulate economic growth. The Resort Municipality of Whistler, British Columbia, has employed this approach in an effort to grow year-round tourism and protect itself from a changing climate and business environment. Leveraging 2 of Hankinson's ( 2009 ) destination branding components, partnerships and communications, to the case study of Whistler, British Columbia, this paper explores its brand repositioning towards the arts and culture.     

The arts of refusal: tragic unreconciliation,pariah humour,and haunting laughter

ABSTRACT

This paper investigates Hannah Arendt’s writings on tragic unreconciliation and pariah humour as offering creative strategies for confronting the deadening of emotion that enables people to become reconciled to what they should refuse or resist. She offers a distinctive contribution to debates on reconciliation and justice, I suggest, by articulating a tragic approach to unreconciliation. Yet Arendt recognised that tragic accounts of violence can reinforce denial and resignation. In writings on the ‘hidden tradition’ of the ‘Jew as pariah,’ Arendt suggests that humour can be an important response to tragic accounts of political violence and a strategy for awakening an emotional response in those who cannot perceive tragedies to which they have become reconciled. As arts of refusal, tragic unreconciliation and pariah humour invoke and subvert the tragic imagination to reveal possibilities for solidarity, responsibility, and transformation that challenge problematic forms of reconciliation – reconciliation to one’s role as a participant in, or bystander to abuse, reconciliation as self-abnegating assimilation, and reconciliation as compromise, scapegoating, or denial.     

Arts marketing framework: The arts organisation as a hub for participation

The proliferation of artistic content, increased mobility of people, ethnic diversification, and increased scarcity of time outside of work against a backdrop of austerity requires an integrated approach to marketing within the arts. This paper proposes a framework for the marketing of arts based on participation, cocreation, and social networks. Additionally, the framework considers the role of self-construal in the participation of arts.     

Working with boards: The experiences of Australian managers in performing arts organisations

Corporate governance has long been a feature of the arts and cultural sector and is a requirement for all cultural organisations seeking public funding, regardless of their size. However, despite the ubiquity of corporate governance in the arts and cultural sector, there is little research addressing the experiences of managers. This study examines the experiences of managers in performing arts organisations in working with their boards, based on data collected across 20 performing arts organisations in Australia using a stakeholder salience lens. Our results indicate that while the board is seen as a key organisational stakeholder, managers have a range of concerns about the governance role of boards, and in particular their limited effectiveness on the dimensions of legitimacy and urgency. We find that arts managers often must wrestle with competing agendas around creative autonomy and the low‐risk appetite of their management boards. Our findings highlight the need to re‐align, particularly in small‐ and medium‐sized organisations, the organisational needs of arts managers with corporate governance arrangements, without detracting from creative endeavours.