For decades, contemporary artworks with reflective properties have stimulated public forms of spectatorship. According to Cristina Albu, these artworks, which can include elements such as mirrors, live video feedback, or sensors, draw attention to affective interdependence and mechanisms of social control. In Mirror Affect, Albu provides a historical account of mirroring processes in contemporary art and offers insight into the phenomenological and sociopolitical concerns that have inspired artists to stage processes of affective, perceptual, and behavioral mirroring between art viewers. Beginning with the 1960s, Albu charts the rise of interpersonal modes of art spectatorship. She reveals contemporary artists’ strategic use of reflective and responsive interfaces to instill doubt in visual representation and appeal to active scrutiny of the changing social dynamics. She suggests that the mirroring processes envisioned by contemporary artists such as Joan Jonas, Dan Graham, Lynn Hershman Leeson, Olafur Eliasson, and Rafael Lozano-Hemmer trigger visual disjunctions to upset narcissistic inclinations. They invite viewers to see themselves in relation to others and to ponder their role within complex social systems. From sculpture and performance to art and technology projects, video art, and installation art, Mirror Affect analyzes forms of interpersonal spectatorship, revising and expanding current historiographies of participatory art.
A scientific study of the journey that Archbishop Sigeric of Canterbury undertook from the British Isles to Rome, focussing on the segment included in the territory of modern France. It not only reconstructs the route, but also offers an archaeological snapshot of the urban developments along the route at the twilight of the first millennium AD.
This is a theatre history, performance studies and U.S. Latino theatre book that examines the artistic, social political contribution of Teatro Pregones to the larger American, Latin American and Puerto Rican theatre communities.
The opening of classified documents from the Soviet era has been dubbed the "archival revolution" due to its unprecedented scale, drama, and impact. With a storyteller's sensibility, Cristina Vatulescu identifies and takes on the main challenges of reading in these archives. This transnational study foregrounds peripheral Eastern European perspectives and the ethical stakes of archival research. In so doing, it contributes to the urgent task of decolonizing the field of Eastern European and Russian studies at this critical moment in the region's history. Drawing on diverse work ranging from Mikhail Bakhtin to Tina Campt, the book enters into broader conversations about the limits and potential of reading documents, fictions, and one another. Pairing one key reading challenge with a particularly arresting story, Vatulescu in turn investigates Michel Foucault's traces in Polish secret police archives; tackles the files, reenactment film, and photo albums of a socialist bank heist; pits autofiction against disinformation in the secret police files of Nobel Prize laureate Herta Müller; and takes on the digital remediation of Soviet-era archives by analyzing contested translations of the Iron Curtain trope from its 1946 origins to the current war in Ukraine. The result is a bona fide reader's guide to Eastern Europe's ongoing archival revolution.
Conveys the remarkable beauty and applicability of the ideas that have grown from Fourier theory. It presents for an advanced undergraduate and beginning graduate student audience the basics of harmonic analysis, from Fourier's study of the heat equation, and the decomposition of functions into sums of cosines and sines (frequency analysis), to dyadic harmonic analysis, and the decomposition of functions into a Haar basis (time localization).
Mothers, Families, or Children? is the first comparative-historical study of family policies in Poland, Hungary, and Romania from 1945 until the eve of the global pandemic in 2020. The book highlights the emergence, consolidation, and perseverance of three types of family policies based on “mother-orientation” in Poland, “family orientation” in Hungary, and “child-orientation” in Romania. It uses a new theoretical framework to identify core and contingent clusters of benefits and services in each country and trace their development across time and under different political regimes, before and after 1989. It also examines and compares policy continuity and change with special attention to institutions, ideas, and actors involved in decision making and reform. As family policies continue to evolve in the era of European Union membership and new governmental and societal actors emerge, this study reveals mechanisms that help preserve core family policy clusters while allowing reform in contingent ones in each country.
This text is the only book of its kind to provide specific guidance applicable to limited resource settings and builds up from the foundation of general practitioner or general pediatrician competence. Written and edited by leaders in the field, this manual educates physicians on the essential components of the discipline, filtered through the experience of specialists from developing countries, with immediate applicability in the specific healthcare environment in these countries. Typically, manuals of pediatric hematology-oncology are written by specialists from high-income countries, and usually target an audience with a sub-specialist level of training, often assisted by cutting-edge diagnostic and treatment facilities. However, approximately 80% of new cases of cancer in children appear in mid- and low-income countries. Almost invariably, general practitioners or general pediatricians without special training in oncology will look after children with malignancies who enter the health care system in these countries. The diagnostic facilities are usually limited, as are the treatment options. The survival figures in these conditions are somewhere below 20%, while in high-income countries they are in the range of 80% for many childhood cancers. This book includes simplified therapy protocols, pain therapy and palliation, as well as ward procedures such as bone marrow aspiration/biopsies, intravenous therapy and chemotherapy drugs mixing. It provides an overview of pediatric cancer epidemiology, cancer registration and organizing support networks and features the management of cancers with associated pathology like AIDS, malnutrition, malaria and tuberculosis.
A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Șerban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcărete, Mihai Măniuţiu, Gianina Cărbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.
Overflowing with powerful testimonies of six female community activists who have lived and worked in the Pilsen neighborhood of Chicago, Chicanas of 18th Street reveals the convictions and approaches of those organizing for social reform. In chronicling a pivotal moment in the history of community activism in Chicago, the women discuss how education, immigration, religion, identity, and acculturation affected the Chicano movement. Chicanas of 18th Street underscores the hierarchies of race, gender, and class while stressing the interplay of individual and collective values in the development of community reform. Highlighting the women's motivations, initiatives, and experiences in politics during the 1960s and 1970s, these rich personal accounts reveal the complexity of the Chicano movement, conflicts within the movement, and the importance of teatro and cultural expressions to the movement. Also detailed are vital interactions between members of the Chicano movement with leftist and nationalist community members and the influence of other activist groups such as African Americans and Marxists.
Mainstream theories assert that democracy cures corruption. In market economies, however, elections are expensive and parties, with ever-thinning memberships, cannot legally acquire the necessary campaign funds. In order to secure electoral funds, a large number of politicians misappropriate public funds. Due to the illicit character of these transactions, high officials with conflicts of interest prefer to leave anticorruption enforcement mechanisms unreformed and reserve the right to intervene in the judicial process, with dire consequences for the rule of law. In No Rule of Law, No Democracy, Cristina Nicolescu-Waggonner demonstrates that when corrupt politicians are in power—true of nearly all new democracies—they will protect their office and fail to implement rule of law reforms. Consequently, these polities never reach a point where democracy could and would cure corruption. This dysfunction is tested in one hundred cases over sixteen years with significant results. In the case of the Czech Republic, for example, which is regarded as a consolidated democracy, there is systematic corruption, misappropriation of state funds, an unreformed judiciary, and arbitrary application of law. The only solution is a powerful, independent, well-funded anticorruption agency. Romania, one of the most corrupt countries in Europe, established, at the European Union's request, powerful anticorruption bodies and punished corrupt leaders, which created the predictability of enforcement. It is the certainty of punishment that curtails corruption and establishes true rule of law.
The effects of the displacement of peoples--their forced migration, their deportation, their voluntary emigration, their movement to new lands where they made themselves masters over others, or became subjects of the masters of their new homes--reverberate down the years and are still felt today. The historical violence of the era of empire and colonies echoes in the literature of the descendants of those forcibly moved and the exiles that those processes have made. The voices of its victims are insistent in the literature that has come to be called “post-colonial.” Although the term “post-colonial” is insufficient to capture fully the depth and breadth of those writers that have been labeled by it (for it is itself something of a colonial instrument, ghettoizing writers in English who are still considered to be “foreign”), there is a common bond among the works of those novelists who understand the process of exile and see themselves as exiles--both from their homes and from themselves. In this eloquently argued book with meticulous theoretical groundwork, Dr. Cristina Dascalu presents a most lucid and concise examination of exile. In addition to her negotiation of the term “exile,” what is most original and significant about Imaginary Homelands of Writers in Exile is the selection of authors. Reaching across national (in terms of country of exile) and ethnic (in terms of region/religion of birth) boundaries, Dr. Dascalu elegantly shows the persistent relevance of the experience and implications of exile to the writing of fiction in the world today. Rushdie, Mukherjee, and Naipaul are very distinct authors whose works are not often discussed together in this context. Using Benedict Anderson’s notion of “unimagined communities,” among other critical lenses, she makes significant connections between the way exile functions as a theme and as a condition for their writing."--pub. desc.
For decades, contemporary artworks with reflective properties have stimulated public forms of spectatorship. According to Cristina Albu, these artworks, which can include elements such as mirrors, live video feedback, or sensors, draw attention to affective interdependence and mechanisms of social control. In Mirror Affect, Albu provides a historical account of mirroring processes in contemporary art and offers insight into the phenomenological and sociopolitical concerns that have inspired artists to stage processes of affective, perceptual, and behavioral mirroring between art viewers. Beginning with the 1960s, Albu charts the rise of interpersonal modes of art spectatorship. She reveals contemporary artists’ strategic use of reflective and responsive interfaces to instill doubt in visual representation and appeal to active scrutiny of the changing social dynamics. She suggests that the mirroring processes envisioned by contemporary artists such as Joan Jonas, Dan Graham, Lynn Hershman Leeson, Olafur Eliasson, and Rafael Lozano-Hemmer trigger visual disjunctions to upset narcissistic inclinations. They invite viewers to see themselves in relation to others and to ponder their role within complex social systems. From sculpture and performance to art and technology projects, video art, and installation art, Mirror Affect analyzes forms of interpersonal spectatorship, revising and expanding current historiographies of participatory art.
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