Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa.
The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results.
Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.
Godard. Fuller. Rivette. Endfield. Tarr. In his celebrated career as a film critic, Jonathan Rosenbaum has undertaken wide-ranging dialogues with many of the most daring and important auteurs of our time. Cinematic Encounters collects more than forty years of interviews that embrace Rosenbaum's vision of film criticism as a collaboration involving multiple voices. Rosenbaum accompanies Orson Welles on a journey back to Heart of Darkness , the unmade film meant to be Welles's Hollywood debut. Jacques Tati addresses the primacy of décor and soundtrack in his comedic masterpiece PlayTime, while Jim Jarmusch explains the influence of real and Hollywoodized Native Americans in Dead Man. By arranging the chapters chronologically, Rosenbaum invites readers to pursue thematic threads as if the discussions were dialogues between separate interviews. The result is a rare gathering of filmmakers trading thoughts on art and process, on great works and false starts, and on actors and intimate moments.
Dialogues and Addresses
Madame de Maintenon University of Chicago Press, 2004 Library of Congress LC1422.M27513 2004 | Dewey Decimal 370.82
Born Françoise d'Aubigné, a criminal's daughter reduced to street begging as a child, Madame de Maintenon (1653-1719) made an improbable rise from impoverished beginnings to the summit of power as the second, secret wife of Louis XIV. An educational reformer, Maintenon founded and directed the celebrated academy for aristocratic women at Saint-Cyr. This volume presents the dialogues and addresses in which Maintenon explains her controversial philosophy of education for women.
Denounced by her contemporaries as a political schemer and religious fanatic, Maintenon has long been criticized as an opponent of gender equality. The writings in this volume faithfully reflect Maintenon's respect for social hierarchy and her stoic call for women to accept the duties of their state in life. But the writings also echo Maintenon's more feminist concerns: the need to redefine the virtues in the light of women's experience, the importance of naming the constraints on women's freedom, and the urgent need to remedy the scandalous neglect of the education of women.
In her writings as well as in her own model school at Saint-Cyr, Maintenon embodies the demand for educational reform as the key to the empowerment of women at the dawn of modernity.
Artists in the Soviet Union faced a difficult choice: either join the official academies and make art that conformed to the state’s aesthetic and ideological dictates, or attempt to develop alternative artistic practices and spheres for exhibiting their work. In the early 1970s, conceptual artists Ilya Kabakov and Viktor Pivovarov chose the latter option, turning their limited resources into an asset by pioneering an entirely new artistic genre: the album. Somewhere between drawings and novels, Kabakov and Pivovarov’s albums were also the basis for unique performance pieces, as the artists invited select audiences to their Moscow apartments for private readings and viewings of the albums, helping to cultivate an alternative artistic community in the process.
This exhibition catalog brings together Kabakov and Pivovarov’s key works for the first time, putting the two artists in dialogue and recreating their artistic community. It not only includes nearly hundred pages of full-color illustrations, but also provides complete English translations of the Russian texts that appear in the volume, plus new interviews with each artist. Taken together, they give viewers a new appreciation of the different aesthetic strategies each artist used to depict the absurdities of everyday life in the Soviet era. Published in partnership with the Zimmerli Museum.
Dialogues in Cuban Archaeology
Edited by L. Antonio Curet, Shannon Lee Dawdy, and Gabino La Rosa Corzo University of Alabama Press, 2005 Library of Congress F1769.D53 2005 | Dewey Decimal 972.91004970729
Provides a politically and historically informed review of Cuban archaeology, from both American and Cuban perspectives.
Many Americans are aware of the political, economic, and personal impacts of the U.S. embargo on Cuba. But the communication blockade between scholars has also affected the historical course of academic disciplines and research in general. With the easing of restrictions in the 1990s, academics are now freer to conduct research in Cuba, and the Cuban government has been more receptive to collaborative projects.
This volume provides a forum for the principal Cuban and American archaeologists to update the current state of Cuban archaeological research--from rock art and potsherds to mortuary practices and historical renovation--thereby filling in the information gap created by the political separation. Each group of researchers brings significant new resources to the effort, including strong conservation regulations, innovative studies of lithic and shell assemblages, and transculturation theories. Cuban research on the hacienda system, slavery, and urban processes has in many ways anticipated developments in North American archaeology by a decade or more. Of special interest are the recent renovation projects in Old Havana that fully integrate the work of historians, architects, and archaeologists--a model project conducted by agreement between the Cuban government and UNESCO.
The selection of papers for this collection is based on a desire to answer pressing research questions of interest for North American Caribbeanists and to present a cross-section of Cuban archaeological work. With this volume, then, the principal players present results of recent collaborations and begin a renewed conversation, a dialogue, that can provide a foundation for future coordinated efforts.
Dialogues in Paradise
Can Xue Northwestern University Press, 1989 Library of Congress PL2912.A5174D5313 1989 | Dewey Decimal 895.1352
The thirteen stories of Dialogues in Paradise are eloquent in a way the West associates with both the modern and the ancient: the dark oracles of Aeschylus and Sophocles, the paranoid mystery of Kafka, the moving stream of Woolf. The work of Can Xue (a pseudonym of Changsa writer Deng Xiao-hua) renews our consciousness of the long tradition of the irrational in our literature, where dreams and reality constitute one territory, its borders open, the passage back and forth barely discernible. She fuses lyrical purity with the darkest visions of the grotesque and the result is a unique literary experience.
Dialogues on the Human Ape
Laurent Dubreuil University of Minnesota Press, 2018 Library of Congress QL737.P9D69 2019 | Dewey Decimal 599.88
A primatologist and a humanist together explore the meaning of being a “human animal”
Humanness is typically defined by our capacity for language and abstract thinking. Yet decades of research led by the primatologist Sue Savage-Rumbaugh has shown that chimpanzees and bonobos can acquire human language through signing and technology.
Drawing on this research, Dialogues of the Human Ape brings Savage-Rumbaugh into conversation with the philosopher Laurent Dubreuil to explore the theoretical and practical dimensions of what being a “human animal” means. In their use of dialogue as the primary mode of philosophical and scientific inquiry, the authors transcend the rigidity of scientific and humanist discourses, offering a powerful model for the dissemination of speculative hypotheses and open-ended debates grounded in scientific research.
Arguing that being human is an epigenetically driven process rather than a fixed characteristic rooted in genetics or culture, this book suggests that while humanness may not be possible in every species, it can emerge in certain supposedly nonhuman species. Moving beyond irrational critiques of ape consciousness that are motivated by arrogant, anthropocentric views, Dialogues on the Human Ape instead takes seriously the continuities between the ape mind and the human mind, addressing why language matters to consciousness, free will, and the formation of the “human animal” self.
Dialogues, Volume 1
Giovanni Gioviano Pontano Harvard University Press, 2012 Library of Congress PA8570.P5D53 2012 | Dewey Decimal 871.04
Giovanni Pontano (1426–1503), whose academic name was Gioviano, was the most important Latin poet of the fifteenth century as well as a leading statesman who served as prime minister to the Aragonese kings of Naples. His Dialogues are our best source for the humanist academy of Naples which Pontano led for several decades.
Despite his predominance in twentieth-century philosophy, no intellectual biography of Martin Heidegger has yet appeared. This account of Heidegger's personal relations, originally published in German and extensively corrected by the author for this translation, enlarges our understanding of a complex figure.
A well-known art historian and an intimate friend of Heidegger's, Heinrich Wiegand Petzet provides a rich portrait of Heidegger that is part memoir, part biography, and part cultural history. By recounting chronologically a series of encounters between the two friends from their meeting in 1929 until the philosopher's death in 1976, as well as between Heidegger and other contemporaries, Petzet reveals not only new aspects of Heidegger's thought and attitudes toward the historical and intellectual events of his time but also the greater cultural and social context in which he articulated his thought.
A collaboration between two of the most interesting voices in ethnomusicology, this volume explores two powerful themes: the "groove" of firsthand experience and participation in music and the "groove" of musical mediation and commodification through recordings. A number of the authors' most important essays, all revised and updated, are introduced and framed by dialogues that supply additional context, introduce retrospective concerns, and reveal connections. This format signals the authors' desire for a more reflexive, experimental discourse on music and society and invites readers to join their conversations.
Music Grooves ranges from jazz, blues, polka, soul, rock, world beat, rap, karaoke, and other familiar genres to major scholarly debates in music theory, ethnomusicology, and popular culture studies. The authors develop and create links between the fields of ethnomusicology and popular culture studies and relate the contents of musics from America, Greece, Cuba, Africa, and Papua New Guinea to artists as diverse as James Brown, Aretha Franklin, L'il Wally Jagiello, Bo Diddley, Walt Solek, Madonna, Paul Simon, Miles Davis, Thelonious Monk, and Billie Holiday.
Keil and Feld offer a fascinating view of the shaping of central ideas and terms in ethnomusicology such as "engendered feeling," "interpretive moves," "participatory discrepancies," "iconicity of style," "people's music," "schizophonia," and "lift-up-over sounding." From Keil's critique of Leonard Meyer's musicological approach to Feld's recent work on world beat, this volume covers an array of vital issues in media studies, musicology and ethnomusicology, popular culture, anthropology, and sociology. It will interest anyone concerned with the nature and meaning of music in the modern world.
Many people believe that when it comes to moral questions, anyone's opinion is as good as anyone else's. Teachers of philosophy, by exposing students to the full panoply of moral theory, can reinforce this prejudice towards skepticism even when they intend to challenge it. Gary Michael Atkinson has taught introductory courses in philosophy for decades, and he has developed an effective approach to show that widespread skepticism based on the existence of persistent moral disagreement is mistaken. Our Search with Socrates for Moral Truth will appeal not only to students and teachers of philosophy but to any educated reader seeking to ascertain or defend the existence of moral truth.
The idea for Philosophy in a Time of Terror was born hours after the attacks on 9/11 and was realized just weeks later when Giovanna Borradori sat down with Jürgen Habermas and Jacques Derrida in New York City, in separate interviews, to evaluate the significance of the most destructive terrorist act ever perpetrated. This book marks an unprecedented encounter between two of the most influential thinkers of our age as here, for the first time, Habermas and Derrida overcome their mutual antagonism and agree to appear side by side. As the two philosophers disassemble and reassemble what we think we know about terrorism, they break from the familiar social and political rhetoric increasingly polarized between good and evil. In this process, we watch two of the greatest intellects of the century at work.
Plato’s dialogues are some of the most widely read texts in Western philosophy, and one would imagine them fully mined for elemental material. Yet, in Plato and Tradition, Patricia Fagan reveals the dialogues to be continuing sources of fresh insight. She recovers from them an underappreciated depth of cultural reference that is crucial to understanding their central philosophical concerns. Through careful readings of six dialogues, Fagan demonstrates that Plato’s presentation of Socrates highlights the centrality of tradition in political, erotic, and philosophic life. Plato embeds Socrates’s arguments and ideas in traditional references that would have been familiar to contemporaries of Socrates or Plato but that today’s reader typically passes over. Fagan’s book unpacks this cultural and literary context for the proper and full understanding of the philosophical argument of the Platonic dialogues. She concludes that, as Socrates demonstrates in word and deed, tradition is essential to successful living. But we must take up tradition with a critical openness to questioning its significance and future. Her original and compelling analyses may change the views of many readers who think themselves already well versed in the dialogues.
This new study challenges traditional ways of reading Plato by showing that his philosophy and political theory cannot be understood apart from a consideration of the literary or aesthetic features of his writing. More specifically, it shows how Plato’s well-known cosmological dialogues—the Phaedrus, Timaeus, and Critias—are structured using several books of the Odyssey as their shared source text.
While there has recently been much scholarly discussion of the relation between poetry and philosophy in Plato’s dialogues, little of it addresses questions central to thoroughgoing literary criticism. Planinc’s work is unique in that it shows the significance of Plato’s extensive refiguring of key episodes in the Odyssey for an interpretation of his political philosophy.
Plato’s cosmological dialogues are almost always discussed topically. The Timaeus is picked through for its theological or scientific doctrines; the Critias is reduced to its Atlantis story, or puzzled over because of its ostensible incompleteness; and the Phaedrus is read for its parallels to modern understandings of erotics or rhetoric. The dialogues are not usually considered in relation to one another, and then only in the context of developmental schemes primarily concerned with distinguishing periods in Plato’s metaphysical doctrines.
Planinc argues that the main literary features of the Phaedrus,Timaeus, and Critias are taken from books 6 to 9 of the Odyssey, the largest part of the story of Odysseus’s stay with the Phaeacians, from the time he swims to shore and encounters Nausicaa to the time he reveals his identity and begins recounting his earlier travels after hearing Demodocus’s songs. By exploring the full range of the many charming and intriguing things the dialogues present in this literary context, he shows that they are a coherent, unified part of Plato’s corpus.
Plato through Homer takes a radically new approach to Plato’s texts that illuminates their literary and philosophic significance and highlights their enduring appeal.
Faced with the difficult task of discerning Plato’s true ideas from the contradictory voices he used to express them, scholars have never fully made sense of the many incompatibilities within and between the dialogues. In the magisterial Plato’s Philosophers, Catherine Zuckert explains for the first time how these prose dramas cohere to reveal a comprehensive Platonic understanding of philosophy.
To expose this coherence, Zuckert examines the dialogues not in their supposed order of composition but according to the dramatic order in which Plato indicates they took place. This unconventional arrangement lays bare a narrative of the rise, development, and limitations of Socratic philosophy. In the drama’s earliest dialogues, for example, non-Socratic philosophers introduce the political and philosophical problems to which Socrates tries to respond. A second dramatic group shows how Socrates develops his distinctive philosophical style. And, finally, the later dialogues feature interlocutors who reveal his philosophy’s limitations. Despite these limitations, Zuckert concludes, Plato made Socrates the dialogues’ central figure because Socrates raises the fundamental human question: what is the best way to live?
Plato’s dramatization of Socratic imperfections suggests, moreover, that he recognized the apparently unbridgeable gap between our understandings of human life and the nonhuman world. At a time when this gap continues to raise questions—about the division between sciences and the humanities and the potentially dehumanizing effects of scientific progress—Zuckert’s brilliant interpretation of the entire Platonic corpus offers genuinely new insights into worlds past and present.
In the last several decades, U.S. women’s history has come of age. Not only have historians challenged the national narrative on the basis of their rich explorations of the personal, the social, the economic, and the political, but they have also entered into dialogues with each other over the meaning of women’s history itself.
In this collection of seventeen original essays on women’s lives from the colonial period to the present, contributors take the competing forces of race, gender, class, sexuality, religion, and region into account. Among many other examples, they examine how conceptions of gender shaped government officials’ attitudes towards East Asian immigrants; how race and gender inequality pervaded the welfare state; and how color and class shaped Mexican American women’s mobilization for civil and labor rights.
The bold essays that make up Reading the Difficulties offer case studies in and strategies for reading innovative poetry.
Definitions of what constitutes innovative poetry are innumerable and are offered from every quarter. Some critics and poets argue that innovative poetry concerns free association (John Ashbery), others that experimental poetry is a “re-staging” of language (Bruce Andrews) or a syntactic and cognitive break with the past (Ron Silliman and Lyn Hejinian). The tenets of new poetry abound.
But what of the new reading that such poetry demands? Essays in Reading the Difficulties ask what kinds of stances allow readers to interact with verse that deliberately removes many of the comfortable cues to comprehension—poetry that is frequently nonnarrative, nonrepresentational, and indeterminate in subject, theme, or message.
Some essays in Thomas Fink and Judith Halden-Sullivan’s collection address issues of reader reception and the way specific stances toward reading support or complement the aesthetic of each poet. Others suggest how we can be open readers, how innovative poetic texts change the very nature of reader and reading, and how critical language can capture this metamorphosis. Some contributors consider how the reader changes innovative poetry, what language reveals about this interaction, which new reading strategies unfold for the audiences of innovative verse, and what questions readers should ask of innovative verse and of events and experiences that we might bring to reading it.
Charles Bernstein / Carrie Conners / Thomas Fink /
Kristen Gallagher / Judith Halden-Sullivan / Paolo Javier /
Burt Kimmelman / Hank Lazer / Jessica Lewis Luck /
Stephen Paul Miller / Sheila E. Murphy / Elizabeth Robinson /
Christopher Schmidt / Eileen R. Tabios
One of Rousseau’s later and most puzzling works and never before available in English, this neglected autobiographical piece was the product of the philosopher’s old age and sense of persecution. Long viewed simply as evidence of his growing paranoia, it consists of three dialogues between a character named “Rousseau” and one identified only as “Frenchman” who discuss the bad reputation and works of an author named “Jean-Jacques.” Dialogues offers a fascinating retrospective of his literary career.
Set in Motion collects for the first time the prose writings of A. R. Ammons, one of our most important and enduring contemporary poets. Hailed as a major force in American poetry by such redoubtable critics as Harold Bloom and Helen Vendler, Ammons has reflected upon the influences of luminaries like Emerson, Thoreau, Whitman, Frost, Stevens, and Williams while creating a compelling style and an artistic vision uniquely his own.
Set in Motion includes essays, reviews, and interviews as well as a selection of Ammons's poems, with commentary from the author about their inspiration and effects. He takes up the questions that have been central to American poetry over the last forty years and connects them to the larger enterprise of living in a difficult, changing world. At a moment when the arts are under attack, Ammons reminds us of the crucial role poetry plays in teaching us to recognize and use sources of understanding that are irreducible to statement.
A. R. Ammons is the author of Sphere, A Coast of Trees, and Garbage and was recently the editor of The Best American Poetry 1994. His awards include the MacArthur and Guggenheim fellowships, the Bollingen Prize, two National Book Awards, and prizes from the American Academy of Arts and Letters and the National Book Critics Circle. He is Goldwin Smith Professor of Poetry, Cornell University.
What kind of literature is the Talmud? To answer this question, Daniel Boyarin looks to an unlikely source: the dialogues of Plato. In these ancient texts he finds similarities, both in their combination of various genres and topics and in their dialogic structure. But Boyarin goes beyond these structural similarities, arguing also for a cultural relationship.
In Socrates and the Fat Rabbis, Boyarin suggests that both the Platonic and the talmudic dialogues are not dialogic at all. Using Michael Bakhtin’s notion of represented dialogue and real dialogism, Boyarin demonstrates, through multiple close readings, that the give-and-take in these texts is actually much closer to a monologue in spirit. At the same time, he shows that there is a dialogism in both texts on a deeper structural level between a voice of philosophical or religious dead seriousness and a voice from within that mocks that very high solemnity at the same time. Boyarin ultimately singles out Menippean satire as the most important genre through which to understand both the Talmud and Plato, emphasizing their seriocomic peculiarity.
An innovative advancement in rabbinic studies, as well as a bold and controversial new way of reading Plato, Socrates and the Fat Rabbis makes a major contribution to scholarship on thought and culture of the ancient Mediterranean.
Christened the New World, Latin America represented a new beginning for Spanish colonists. In fact, the discovery of Latin America was only part of a continuing, worldwide search for new resources: fertile land, precious metals, and slave labor. Nevertheless, this idealized image of Latin America continues to dominate interpretations of “natives,” who are transformed into marginalized, romanticized figures, either unusually wise or wildly heroic.
Transatlantic Translations refigures Latin American narratives outside of this standard postcolonial framework of victimization and resistance. Julio Ortega traces the ways in which Latin America has been represented through the works of many “native speakers,” including Juan Rulfo, Gabriel García Márquez, and Juan Maria Gutierrez. Language, Ortega reveals, was not solely a way for colonizers to indoctrinate and civilize; instead, it gave Latin Americans the means to tell their own history. Spanning literatures from the early modern period to the present day, the essays in Transatlantic Translations demonstrate the rich history of shared language between old and new worlds.
Our current understanding of our world is nearly 350 years old. It stems from the ideas of Descartes and Newton and has brought us many great things, including modern science and increases in wealth, health and everyday living standards. Furthermore, it is so ingrained in our daily lives that we have forgotten it is a paradigm, not a fact. There are, however, some problems with it. First, there is no satisfactory explanation for why we have consciousness and experience meaning in our lives. Second, modern-day physics tells us that observations depend on characteristics of the observer at the large, cosmic, and small, subatomic scales. Third, ongoing humanitarian and environmental crises show us that our world is vastly interconnected. Our understanding of reality is expanding to incorporate these issues. In The Universe, Life and Everything . . . Dialogues on our Changing Understanding of Reality, some of the scholars at the forefront of this change, from the fields of physics, psychology, and social sciences, discuss the direction it is taking and its urgency.
The Why of Music was first published in 1969. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
In his many tears of teaching and writing about music Professor Ferguson has given much thought to the question of the why of music — why does music affect us as it does, why are we deeply moved by some music by not by other music, what is it about music that "sends" us, and where does it send us? In this book he explores such questions in depth and provides intriguing answers. The discussions are presented in the form of dialogues between the author and several friends.
As Professor Ferguson explains, the book is intended to take the reader on a guided tour, a tour which follows, in part, the familiar roads of formal music appreciation but which leads more often into byways where, almost hidden by the brilliant Hows that line the more familiar roads, lurks the essential Why of music. He describes this Why as the fertilizing commerce between music and human experience—a portrayal, not of the tangible facts of experience, but of the concern aroused by our encounter with those facts. He explains that while avant-garde abstractionism is concerned only with music as art—a concern too specialized for the general music lover to grasp and too narrow to sustain interest—the Why of enduring music lies in its endeavor to portray experience as it lives in Everyman's mind.