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Robins examines the major art movements in the 1970s and covers artists and their works from both a chronological and a socio-critical point of view. She offers positive comment on the New York Soho scene, process and conceptual art, the raised perceptions on the art of black artists and women artists, earth sculptures, site works, installations, pattern and decorative art, the return to representation, the continu ing presence of abstraction and the role of photography and video. The book includes works by 77 artists. ISBN 0-06-430137-0 (pbk.) : $10.95 (For use only in the library).
Robins examines the major art movements in the 1970s and covers artists and their works from both a chronological and a socio-critical point of view. She offers positive comment on the New York Soho scene, process and conceptual art, the raised perceptions on the art of black artists and women artists, earth sculptures, site works, installations, pattern and decorative art, the return to representation, the continu ing presence of abstraction and the role of photography and video. The book includes works by 77 artists. ISBN 0-06-430137-0 (pbk.) : $10.95 (For use only in the library).
The "pluralist game," the way in which we attempt to resolve the problems arising out of our pluralism through the political and judicial processes, necessarily engages the citizens of our society. This book brings together 14 essays from a leading Catholic political theorist to address the central issue of American theological, political, and social thought: the relationship between religion, morals, law, and public policy in a pluralistic liberal society.
Pluralism is among the most vital intellectual movements of the modern era. Liberal pluralism helped reinforce and promote greater separation of political and religious spheres. Socialist pluralism promoted the political role of trade unions and the rise of corporatism. Empirical pluralism helped legitimate the role of interest groups in democratic government. Today pluralism inspires thinking about key issues such as multiculturalism and network governance. However, despite pluralism's importance, there are no histories of twentieth-century pluralist thinking. Modern Pluralism fills this gap. It explores liberal, socialist, and empirical ideas about diversity in Britain and the United States. It shows how pluralists challenged homogenous nations and sovereign states, often promoting sub-national groups as potential sites of self-government. In it, intellectual historians, political theorists, and social scientists collectively explore the historical background to present institutions and debates. The book serves to enrich our understanding of the history of pluralism and its continuing relevance.
The first three decades of the twentieth century saw the largest period of immigration in U.S. history. This immigration, however, was accompanied by legal segregation, racial exclusionism, and questions of residents’ national loyalty and commitment to a shared set of “American” beliefs and identity. The faulty premise that homogeneity—as the symbol of the “melting pot”—was the mark of a strong nation underlined nativist beliefs while undercutting the rich diversity of cultures and lifeways of the population. Though many authors of the time have been viewed through this nativist lens, several texts do indeed contain an array of pluralist themes of society and culture that contradict nativist orientations. In The Pluralist Imagination from East to West in American Literature, Julianne Newmark brings urban northeastern, western, southwestern, and Native American literature into debates about pluralism and national belonging and thereby uncovers new concepts of American identity based on sociohistorical environments. Newmark explores themes of plurality and place as a reaction to nativism in the writings of Louis Adamic, Konrad Bercovici, Abraham Cahan, Willa Cather, Paul Laurence Dunbar, Charles Alexander Eastman, James Weldon Johnson, D. H. Lawrence, Mabel Dodge Luhan, and Zitkala-Ša, among others. This exploration of the connection between concepts of place and pluralist communities reveals how mutual experiences of place can offer more constructive forms of community than just discussions of nationalism, belonging, and borders.
This book is volume of the series: The World of Political Science - The development of the discipline Edited by Michael Stein and John Trent The book focuses on the study of democratic processes. Special emphasis is put (1) on the existence of a diversity of (e. g. socio-economic, ethno-cultural,...) interests and the transformation of this diversity into public policies, (2) on the participatory features of democracy and on barriers to individual and group participation due to disparities in economic and political resources.
Video art emerged as an art form that from the 1960s and onwards challenged the concept of art - hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures - manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art history’s most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices. By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.