4195 Slices
Medium 9789988647377

SECTION 5: ARTISTIC EXPRESSION AND PERFORMANCE IN AFRICA

Esi Sutherland-Addy and Takyiwaa Manuh Sub-Saharan Publishers PDF

Section Five, is dedicated to artistic expression in Africa. Th is
constitutes a vibrant and dynamic aspect of the lives of Africans which continues to be integrated
into the daily and ceremonial life of peoples of the continent. Rituals and festivals for example, offer a rich platform for the performance of a communal aesthetic and ethos. Chapters in the
section are on the literary arts (Chapter 17), visual arts (Chapter 18), as well as on dance (Chapter
19), musical traditions (Chapter 20), and popular entertainment (Chapter 21). Th e authors seek
to both lay out the features of a range of art forms and to demonstrate the contexts of their use
and performance, while also emphasising their importance in expressing the universe of ideas
and beliefs developed by Africans. Th e arts are shown as assisting in understanding African
societies better while some art forms also play the role of social commentary and intervention.

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Medium 9781574415308

Conclusion: Latino Urban Agency in the 21st Century, Sharon A. Navarro and Rodolfo Rosales

Edited by Sharon A. Navarro and Rodolfo Rosales University of North Texas Press PDF

Conclusion:

Latino Urban Agency in the 21st Century

The

focus of This volume has been on ciTies where

laTinos

have,

throughout the twentieth century, busied themselves in establishing their cultural, social, economic, and political roots. Indeed, Latinos have, especially after WWII, engaged in politics in their respective urban spaces, struggling to shape those spaces to their needs. Continuing into the twenty-first century, this process is now occurring in innumerable smaller urban areas as the Latino diaspora spreads across the United States.

This particularly local and provincial process made these communities both invisible and diverse. Ironically, because of their different historical legacy, as opposed to European immigrants, Latinos have remained insulated and invisible to mainstream America, which continues to see Latinos as migrant workers or simply as immigrants.1 The diversity springs from the varied and diverse circumstances they found themselves in from East

Los Angeles to the Mission District in San Francisco, to Chicago, to Miami, to the West side of San Antonio and many other urban realities. Added to these multiple circumstances, the multiple national origins that make up the Latino community creates one of the most diverse and yet identifiable communities in America. Moreover, it has been difficult to generalize about

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Medium 9781855758865

CHAPTER NINE: The new unconscious: opening wider perspectives on society

Halina Brunning Karnac Books ePub

Kenneth Eisold

The unconscious has had a robust and lively history—and it is still being written. Today, its scope is widening, and the evidence for its reach into every corner of society is being gathered from new domains.

Freud is generally credited with “discovering” the unconscious, but his achievement was to put it into scientific language and use it to account for neurotic behaviour. He postulated that the mind banished irrational and socially unacceptable thoughts from conscious awareness, thoughts that resurfaced as symptoms. Subsequently, he linked up his explanation of symptoms with a theory of dreams, and he conceived of an extensive netherworld below the surface of consciousness that was ruled by a logic of its own, what he called “primary process”. Shortly afterwards, his explorations of infantile sexuality in Three Essays described the sexual motives that essentially mandated the existence of that unconscious world, the repressed impulses and thoughts generally unacceptable to civilized society. At that point, psychoanalysis had a coherent theory of a dynamic unconscious (Ellenberger, 1970; Makari, 2008).

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6 Jonathan P. Eburne · “Fish Kit”

Jonathan P Eburne Indiana University Press ePub

Ideas are like fish.

If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper.

Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful.

DAVID LYNCH, CATCHING THE BIG FISH

To a fish, the depths and expanses of its waters, the currents and quiet pools, warm and cold layers are the element of its multiple mobility. If the fish is deprived of the fullness of its element, if it is dragged on the dry sand, then it can only wriggle, twitch, and die. Therefore, we always must seek out thinking, and its burden of thought, in the element of its multiple meanings, else everything will remain closed to us.

MARTIN HEIDEGGER, WHAT IS CALLED THINKING?

6

FISH KIT

Jonathan P. Eburne

STICK TO YOUR DAY JOB

In the summer of 2000, an event billed as the New York City CowParade exhibited roughly five hundred fiberglass cow statues around the city. Decorated “by artists and schoolchildren” and displayed on sidewalks throughout the five boroughs, the statues were the trademark of CowParade Holdings, a private, for-profit development company that sponsors such “CowParades” in cities around the world.1 As the company’s website explains, “CowParade is helping to showcase the local arts community and stimulate civic spirit and pride which ultimately raises funds for local charities that in turn benefit the community.” Though a private corporation, its interests are manifestly public: “CowParade is designed to make art accessible to the masses by bringing it out of the museum and onto the streets and parks of a city. People are able to touch as well as to see these unique canvases, making the art interactive and unlike anything that has ever been seen.”2 Unlike the urban sheep-protests featured in Roman Polanski’s Chinatown (1974) or, more recently, in contemporary Madrid (2012), the presence of hundreds of decorated cow statues on urban sidewalks offers an explicit, if unthreatening, appeal to both the comforts of urban space and the approachability of contemporary art. Cities and concept art alike can be breezy and even pastoral, the event proposes; CowParade offers both cities and artists a ready-to-assemble kit for raising public arts awareness and corporate buy-in all at once. Indeed, even before the New York event opened, lawsuits over brand naming and the rights to the cow-display concept suggested precisely how profitable such CowParade kits might be.3

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Medium 9781574412826

Yahgan Bird Names

Ricardo Rozzi and collaborators University of North Texas Press PDF

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