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Aesthetics and the Revolutionary City engages in alternative ways of reading foreign visual representations of Havana through analysis of advertising images, documentary films, and photographic texts. It explores key narratives relating to the projection of different Havana imaginaries and focuses on a range of themes including: pre-revolutionary Cuba; the dream of revolution; and the metaphor of the city “frozen-in-time.” The book also synthesizes contemporary debates regarding the notion of Havana as a real and imagined city space and fleshes out its theoretical insights with a series of stand-alone, important case studies linked to the representation of the Cuban capital in the Western imaginary. The interpretations in the book bring into focus a range of critical historical moments in Cuban history (including the Cuban Revolution and the “Special Period”) and consider the ways in which they have been projected in advertising, documentary film and photography outside the island.
"Beginning in October 2019, Chile was convulsed by protests and political upheaval, as what began as civil disobedience transformed into a vast resistance movement. Throughout, one of the most striking aspects of the protests was the murals, graffiti, and other political graphics that became ubiquitous in Chilean cities. In this fascinating, beautifully illustrated book, Terri Gordon-Zolov and Eric Zolov-who were in Santiago to witness and document the protests from their very beginnings -offer a vivid catalog of Chilean wall art in all its vitality, subtlety, and inventiveness, along with reflections on its artistic antecedents, the context of global protest movements, and the long shadow cast by Chile's authoritarian past"--
In this wide-ranging book, renowned philosopher and cultural theorist Peter Sloterdijk examines art in all its rich and varied forms: from music to architecture, light to movement, and design to typography. Moving between the visible and the invisible, the audible and the inaudible, his analyses span the centuries, from ancient civilizations to contemporary Hollywood. With great verve and insight he considers the key issues that have faced thinkers from Aristotle to Adorno, looking at art in its relation to ethics, metaphysics, society, politics, anthropology and the subject. Sloterdijk explores a variety of topics, from the Greco-Roman invention of postcards to the rise of the capitalist art market, from the black boxes and white cubes of modernism to the growth of museums and memorial culture. In doing so, he extends his characteristic method of defamiliarization to transform the way we look at works of art and artistic movements. His bold and original approach leads us away from the well-trodden paths of conventional art history to develop a theory of aesthetics which rejects strict categorization, emphasizing instead the crucial importance of individual subjectivity as a counter to the latent dangers of collective culture. This sustained reflection, at once playful, serious and provocative, goes to the very heart of Sloterdijk’s enduring philosophical preoccupation with the aesthetic. It will be essential reading for students and scholars of philosophy and aesthetics and will appeal to anyone interested in culture and the arts more generally.
How and why cities have become the predominant sites for revolutionary upheavals in the contemporary world Examining the changing character of revolution around the world, The Revolutionary City focuses on the impact that the concentration of people, power, and wealth in cities exercises on revolutionary processes and outcomes. Once predominantly an urban and armed affair, revolutions in the twentieth century migrated to the countryside, as revolutionaries searched for safety from government repression and discovered the peasantry as a revolutionary force. But at the end of the twentieth century, as urban centers grew, revolution returned to the city—accompanied by a new urban civic repertoire espousing the containment of predatory government and relying on visibility and the power of numbers rather than arms. Using original data on revolutionary episodes since 1900, public opinion surveys, and engaging examples from around the world, Mark Beissinger explores the causes and consequences of the urbanization of revolution in the late twentieth and early twenty-first centuries. Beissinger examines the compact nature of urban revolutions, as well as their rampant information problems and heightened uncertainty. He investigates the struggle for control over public space, why revolutionary contention has grown more pacified over time, and how revolutions involving the rapid assembly of hundreds of thousands in central urban spaces lead to diverse, ad hoc coalitions that have difficulty producing substantive change. The Revolutionary City provides a new understanding of how revolutions happen and what they might look like in the future.
Winner, 2022 AATSEEL Best Book in Literary Studies, American Association of Teachers of Slavic and European Languages Honorable Mention, 2022 Aldo and Jeanne Scaglione Prize for Comparative Literary Studies, Modern Language Association Following the failure of communist revolutions in Europe, in the 1920s the Soviet Union turned its attention to fostering anticolonial uprisings in Asia. China, divided politically between rival military factions and dominated economically by imperial powers, emerged as the Comintern’s prime target. At the same time, a host of prominent figures in Soviet literature, film, and theater traveled to China, met with Chinese students in Moscow, and placed contemporary China on the new Soviet stage. They sought to reimagine the relationship with China in the terms of socialist internationalism—and, in the process, determine how internationalism was supposed to look and feel in practice. Internationalist Aesthetics offers a groundbreaking account of the crucial role that China played in the early Soviet cultural imagination. Edward Tyerman tracks how China became the key site for Soviet debates over how the political project of socialist internationalism should be mediated, represented, and produced. The central figure in this story, the avant-garde writer Sergei Tret’iakov, journeyed to Beijing in the 1920s and experimented with innovative documentary forms in an attempt to foster a new sense of connection between Chinese and Soviet citizens. Reading across genres and media from reportage and biography to ballet and documentary film, Tyerman shows how Soviet culture sought an aesthetics that could foster a sense of internationalist community. He reveals both the aspirations and the limitations of this project, illuminating a crucial chapter in Sino-Russian relations. Grounded in extensive sources in Russian and Chinese, this cultural history bridges Slavic and East Asian studies and offers new insight into the transnational dynamics that shaped socialist aesthetics and politics in both countries.
Examines art by over twenty-five artists to enable a greater understanding of the 'Arab Uprisings' and of the term 'revolution'.
"In this meticulously-researched, in-depth examination of anarchism and modernism, Gurianova provides a new and compelling interpretation of the early Russian avant-garde. Her study has major implications for our understanding of some of the twentieth century’s most important modernists and is an important contribution to the history and theory of radical political thought."— Allan Antliff, author of Anarchist Modernism: Art, Politics, and the First American Avant-Garde. “Gurianova is the first scholar to study the early Russian avant-garde not as a precursor to the Constructivism of the 1920s, but as a distinctive movement in its own right. In this important book, she identifies an “aesthetics of anarchy” that characterized the movement’s politics and poetics—a concept with provocative implications for our understanding of the relationship between word and image. This is a work of original and compelling scholarship that will profoundly alter our understanding of the Russian avant-garde.”— Nancy Perloff, Getty Research Institute (Los Angeles), curator of the exhibit Tango with Cows: Book Art of the Russian Avant-Garde (1910-1917).
How has political revolution figured into the development of avant-garde cultural production? Is the vanguard an antiquated concept or does its influence still resonate in the 21st century? Focusing closely on the convergence of aesthetics and politics that materialized in the early part of the twentieth century, this study offers a re-interpretation of the historical avant-garde from 1917 to 1962, a turbulent period in intellectual history which marked the apex, crisis, and decline of vanguardist authority. Moving from the impact of the Bolshevik Revolution to the anti-imperialist and decolonizing movements in the Third World, to the emergence of neo-vanguardism in the wake of postmodernity, this study opens the way for understanding the transformation of vanguardist cultural paradigms from a global perspective, the implications of which also reveal its relevance and application to the contemporary period.
"What is indeed striking is the degree to which the essays reveal a shared set of interests and adopt languages and concerns that reflect back and forth in stimulating ways."--Richard W. Kroll, author of "The Material World"