Download Free Fantasmic Objects Book in PDF and EPUB Free Download. You can read online Fantasmic Objects and write the review.

In Lebanon, the study of modern art—rather than power or hierarchy—has compelled citizens to confront how they define themselves as a postcolonial nation. In Fantasmic Objects, Kirsten L. Scheid offers a striking study of both modern art in Lebanon and modern Lebanon through art. By focusing on the careers of Moustapha Farrouk and Omar Onsi, forefathers of an iconic national repertoire, and their rebellious student Saloua Raouda Choucair, founder of an antirepresentational, participatory art, Scheid traces an emerging sense of what it means to be Lebanese through the evolution of new exhibition, pedagogical, and art-writing practices. She reveals that art and artists helped found the nation during French occupation, as the formal qualities and international exhibitions of nudes and landscapes in the 1930s crystallized notions of modern masculinity, patriotic femininity, non-sectarian religiosity, and citizenship. Examining the efforts of painters, sculptors, and activists in Lebanon who fiercely upheld aesthetic development and battled for new forms of political being, Fantasmic Objects offers an insightful approach to the history and formation of modern Lebanon.
-- The work offers an insightful approach to the history and formation of modern Lebanon through studying how modern art requires citizens to confront how they define themselves. This innovative strategy will surely influence similar studies of other postcolonial nations. -- Scholarship which seeks to understand power, hierarchy, and structure often tends to ignore art. This work addresses this deficiency through its clear exploration of the imaginative basis for self-expression, socialization, and political mobilization which is so fundamental to the construction of citizenship. -- The work will appeal to scholars working on the historical, social, or political studies of Lebanon and the Middle East more generally. It will also appeal to scholars working on postcolonial studies, art history, gender studies, and anthropology.
The Perverse Organisation and its Deadly Sins begins by examining the nature of perversity and its presence in corporate and organisational life. Then, four chapters examine the "corporate sins" of perverse pride, greed, envy and sloth, each taking case studies from major organisations suffering their effects. Finally, the book enquires into the nature of the consumer/provider pair as a centrepiece of the perverse cultural dynamics of current organisational life. The emphasis in the book is on perversity displayed by the organisation as such, rather than simply by its leaders, or other members, even though they may embody and manifest perverse primary symptoms to the extent that they at times engage in corrupt or criminal behaviour. What is explored is a group and organisation dynamic, more deeply embedded than conscious corruption. Within the perverse structure some roles become required to take up corrupt positions. They become part and parcel of the way things work. The person may condemn certain practices, but the role requires them. Tensions between person and role may mean that the person in role acts as they would not while in other roles. Such tensions may lead to the dynamics of perversity. This book is important reading for managers, consultants, and all who are interested in the dynamics propelling what seem to be the out-of-control dynamics within contemporary organisational life. It helps us understand how many people in positions of trust may end up abusing those positions. It looks at how we may be collectively perverse despite our individual attempts to be otherwise.
Why are evangelicals perceived as arrogant, exclusivist, duplicitous, and dispasionate by the wider culture? Diagnosing its political-cultural presence via the ideological theory of Slavoj éZiézek, Fitch argues that evangelicalism appears to have lost the core of its politic : Jesus Christ. In so doing its politic has become "empty." Its witness has been rendered moot. The way back to a vibrant political presence is through the corporate participation in the triune God's ongoing work in the world as founded in the Incarnation.
In this important book, a well-known psychoanalyst and feminist makes a case for what she calls "gender heterodoxy"-a highly original view of the similarities and differences between the sexes-and, in the process, illuminates aspects of love, sexuality, aggression, and pornography.
In Jerusalem, as World War II was coming to an end, an extraordinary circle of friends began to meet at the bar of the King David Hotel. This group of aspiring artists, writers, and intellectuals—among them Wolfgang Hildesheimer, Jabra Ibrahim Jabra, Sally Kassab, Walid Khalidi, and Rasha Salam, some of whom would go on to become acclaimed authors, scholars, and critics—came together across religious lines in a fleeting moment of possibility within a troubled history. What brought these Muslim, Jewish, and Christian friends together, and what became of them in the aftermath of 1948, the year of the creation of the State of Israel and the Palestinian Nakba? Sonja Mejcher-Atassi tells the story of this unlikely friendship and in so doing offers an intimate cultural and social history of Palestine in the critical postwar period. She vividly reconstructs the vanished social world of these protagonists, tracing the connections between the specificity of individual lives and the larger contexts in which they are embedded. In exploring this ecumenical friendship and its artistic, literary, and intellectual legacies, Mejcher-Atassi demonstrates how social biography can provide a picture of the past that is at once more inclusive and more personal. This group portrait, she argues, allows us to glimpse alternative possibilities that exist within and alongside the fraught history of Israel/Palestine. Bringing a remarkable era to life through archival research and nuanced interdisciplinary scholarship, An Impossible Friendship unearths prospects for historical reconciliation, solidarity, and justice.
Whether and to what extent African states and societies have been able to break away from colonial impact is a still contentious issue. Harald Barre considers newspapers and academic activism in Tanzania as forums in which the project of an independent African nation was shaped through heated debates. Examining the changing discourses on race and gender in the 1960s and 1970s, he reveals that equating difference with inequality in the national narrative was fiercely contested. Pervasive images rooted in colonialism were thus challenged and in some cases fundamentally transformed by journalists, students, (inter)national scholars, (inter)national events and the promise of an egalitarian socialist state.
What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities? Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focussed on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, this book heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did.
Of all European cities, Americans today are perhaps most curious about Berlin, whose position in the American imagination is an essential component of nineteenth-century, postwar and contemporary transatlantic imagology. Over various periods, Berlin has been a tenuous space for American claims to cultural heritage and to real geographic space in Europe, symbolizing the ultimate evil and the power of redemption. This volume offers a comprehensive examination of the city’s image in American literature from 1840 to the present. Tracing both a history of Berlin and of American culture through the ways the city has been narrated across three centuries by some 100 authors through 145 novels, short stories, plays and poems, Tales of Berlin presents a composite landscape not only of the German capital, but of shifting subtexts in American society which have contextualized its meaning for Americans in the past, and continue to do so today.
This book is a landmark in contemporary cultural psychology. Ernest Boesch’s synthesis of ideas is the first comprehensive theory of culture in psychology since Wilhelm Wundt’s Völkerpsychologie of the first decades of the twentieth century. Cultural psychology of today is an attempt to advance the program of research that was charted out by Wundt—yet at times we are carefully avoiding direct recognition of such continuity. While Wundt’s experimental psychology has been hailed as the root for contemporary scientific psychology, the other side of his contribution— ethnographic analysis of folk traditions and higher psychological functions— has been largely discredited as something disconnected from the scientific realm. As an example of “soft” science—lacking the “hardness” of experimentation—it has been considered to be an esoteric hobby of the founding father of contemporary psychology. Of course that focus is profoundly wrong—the opposition “soft” versus “hard” just does not fit as a metalevel organizer of any science. Yet the rhetoric discounting the descriptive side of Wundt’s psychology is merely an act of social guidance of what psychologists do—not a way of creating knowledge.