Cultural Policy and Values: Intrinsic versus Instrumental? The Case of Romania

This article addresses cultural policy in post-Communist Romania, focusing on the justifications for support of culture and the arts. The objectives are to clarify values legitimizing public support and to determine their effect on the meaning and impact of cultural policy. The author argues that justifications of public funding—instrumental or intrinsic—depend on how successive governments represent the roles conferred to culture and the arts, as well as on the particular ideas of culture and art they promote. Policy discourse after 1989 has been characterized by its nourishment of a persistent instrumental ideology that gradually connected to the international debate and has been dominated by a traditional, narrow conception of culture and art, which conflicts with a modern conception. Until recently, the fluctuations and conflicts between different values and ideas of culture and art have worked to constrain cultural policy, disrupting its implementation and altering its effects.     

Radical exclusions,empty signifiers and an anti-war genre

Ernesto Laclau argues that Saussurean structural linguistics is one framework necessary for a post-Marxist understanding of political identities and new social movements. Disrupting the distinction between the discursive and the political, he provides insight into the formal properties of identity, difference, universality and particularity. However, this disruption means that his work is relevant not only to political theory per se but has retroactive value for understanding semiotics and signification. By considering methodological problems encountered during an analysis of an anti-war poster genre, this essay suggests that Laclau's concept of empty signifiers enables a novel understanding of genre. His schema complements approaches that emphasize the analysis of content and the analysis of audience reception, broadly conceived. Between the poles of content and reception, there are structural or relational properties enabling the contingent stability and meaningfulness of genre. These properties include the differential nature of a genre's identity, and a genre's discursive reliance on a radical exclusion.     

Philosophy and the History of Art

Abstract

Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the aim of this paper is to challenge such assertions. It will show that “historical construction” has to be understood in a twofold manner: first, as a transcendental history of the absolute’s artistic individuation and second, as a cultural history of both the ancient and modern worlds of art. Working within this twofold setting the paper argues that Schelling’s systematic approach, while exhibiting a unifying force, still remains open to the otherness of the real.     

Drawing maps: history and geography in contemporary black British art

For contemporary black British artists, history is a recurring and significant concept in their lives. This is the imperial and colonial history of the enslavement, exploitation, and oppression of non-white populations. Geography is conceptually twinned with history. European colonial enterprises necessitated the movement of people as well as goods across oceans and between continents. Africa, Southeast Asia, and the Americas were conquered, carved up, and mapped out by European powers. This geography is a legacy for those people whose ancestors and relatives were enslaved and/or displaced. It is equally important to those people directly affected by economic and political instability in their homelands, immigration, and/or racism. Artists Yinka Shonibare, Godfried Donkor, and Lubaina Himid appropriate centuries-old images and cultural as well as racial stereotypes to question accepted historical narratives with regards to black populations. Zarina Bhimji, Sonia Boyce, and Sokari Douglas Camp are more concerned with how history impinges upon them personally.     

对实用艺术作品著作权保护之法律探析——完善我国《著作权法》立法建议

我国《著作权法》及《著作权法实施条例》中,对实用艺术作品均没有任何明确的规定,实用艺术作品的法律保护至今仍为空白。我国应结合国际公约、条约和国外一些国家的法律规定,在《著作权法》中应明确规定对实用艺术作品的著作权保护的具体措施。     

重温三代领导人文化建设思想推进社会主义先进文化建设--纪念邓小平同志诞辰100周年

先进文化是人类文明进步的结晶,是推动人类社会进步的精神动力、智力支持和思想保障.毛泽东民族的科学的大众的新民主主义文化科学地回答了中国文化的出路问题,邓小平、江泽民根据不同历史时期的要求,继承和发展了毛泽东的文化思想,使之一脉相承.中国共产党始终代表着中国先进文化的前进方向,实现人的全面发展是先进文化的根本要求,先进文化是一个与时俱进、永无止境的历史过程.     

To Live Outside the Law: Frank O'Hara

This essay reflects on the New York School poet Frank O'Hara in terms of the idea of law. I suggest that art depends on a notion of an immanent law: that for language to become artistic is to become a meaningful part of an order which announces its autonomy from the surrounding world. O'Hara exploits this fact by making the most unlikely pieces of language into poetry, and thus giving the law to the life from which his words are taken. But he is also constantly improvising his own rules of art, drawing the law of poetry from the whim of the moment in radically individualist fashion. The gamble of O'Hara's writing is that the reader will submit to this profoundly personal law for the duration of a poem. This revised version was published online in August 2006 with corrections to the Cover Date.     

Understanding the Magic of Credibility for Political Leaders: A Case of India and Narendra Modi

The field of political marketing has majorly benefited from the use of social media platforms. This has been true both for eastern and western contexts. The primary areas in political marketing that have majorly benefited from the social media usage have been the political leader and the evaluations of the leader by the voters. In the Indian context too, the use of social media techniques has been hailed as the Holy Grail of political marketing. This estimation is quite apposite. Nevertheless, what must not be forgotten is that the complexities of the bonding between political leaders and voters are not only premised primarily on the efficacy of social media techniques but also include other key dimensions. Thus, this article focuses on the importance of credibility as a key dimension. This dimension is inevitable to make social media techniques as effective as they are in political marketing. To substantiate this, we have comprehensively engaged with the fields such as traits of political leaders, crisis management and collaboration. These deliberations have been contextualized to the case of Narendra Modi, the prime minister of India. Further, these deliberations culminate in an effective framework. Academicians and practitioners of political marketing can extensively utilize this framework.     

丽藻穷雕饰：论唐初诗歌对藻饰之美的追求

在初唐前期诗坛,传统儒家"雅"、"颂"的诗歌观念的复归并没有影响到当时诗人在诗歌艺术领域里的探求,"丽藻穷雕饰"成为诗人们的共同创作观念和努力目标;与此同时,"清辞巧制"也为诗人普遍接受.这使得在艺术风貌上,此一时期的诗歌表现出追求辞藻的雕琢、体制的精巧和诗风的清雅等鲜明特征.     

The arc and the zip: Deleuze and lyotard on art

Lyotard and Deleuze made extensive use of modern art to mount a critique of representation as part of their attack on the enlightenment subject. Art breaks out of received rules, conventions, forms, and cliches and is an instance of ethical if not revolutionary activity. Lyotard first developed these ideas through the concept of the Figure, which Deleuze later adopted. Figure is the desire or force that transgresses and deforms the good form of mimetic representation. Using Cezanne and Francis Bacon as paradigmatic examples, they argue that art creates new feelings and desires (Lyotard) or intensities and sensations (Deleuze). For Deleuze this is the model of ethical behavior -- the creation of new, productive forms of life free from the negativity of judgment. While Lyotard and Deleuze started from a common point, Lyotard changed his position in his later work on the sublime. Rather than positing a subject of purely affirmative desire and ideally free of the limitations of judgment, he posited a subject seized by and limited by the law. The subject is by nature divided: always already seized by and hostage to an Other, an unrepresentable excess or remainder. He is under an obligation to recollect and respond to the Other by bearing witness to it. The sublime experience of seizure by the law is exemplified in the paintings of Barnett Newman. While Deleuze would have done with judgment, Lyotard can never have done with it.