Artists

Distribution by Scientific Domains
Distribution within Humanities and Social Sciences

Kinds of Artists

  • other artists


  • Selected Abstracts


    REVIVING THE ROCOCO: ENTERPRISING ITALIAN ARTISTS IN SECOND EMPIRE PARIS

    ART HISTORY, Issue 3 2005
    Caroline Igra
    Faced with a dearth of artistic opportunity at home and the promise of cultural riches elsewhere, Italian artists flocked to Paris in the mid-nineteenth century. Seeking assimilation and acceptance, they adapted a fashionable painting style that was not French in origin but Spanish, and primarily based on the work of Mariano Fortuny. This revival of eighteenth-century rococo genre painting, popular in, and promoted by, the Second Empire, brought these Italian artists financial success and artistic recognition, as individuals and as representatives of a nation. Giovanni Boldini and Giuseppe de Nittis were among the very few Italian artists to enjoy fame and fortune in Paris. Their practice in the French capital demonstrates how artistic choices and careers could be shaped by the demands of the art market and the conditions for success, and the pressures levied by discussions about the significance of national schools of art. [source]


    STORIES AND COSMOGONIES: Imagining Creativity Beyond "Nature" and "Culture"

    CULTURAL ANTHROPOLOGY, Issue 2 2009
    STUART McLEAN
    ABSTRACT What does it mean to create? Who or what could be said to create? God? Artists? Evolution? Markets? The Dialectic? Do things "just happen" and if so is that a kind of creativity? Taking storytelling as its point of reference, this essay considers the notion of creativity as it applies both to the productions of the human imagination, especially stories, and to the self-making of the material universe. I define creativity broadly as the bringing forth of new material, linguistic, or conceptual formations or the transformation of existing ones and as calling, not for a "cultural poetics," but for a more broadly conceived poetics of making (poesis, in its most inclusive sense), encompassing both the natural and cultural realms as conventionally designated, a poetics capable of articulating the stories human beings tell with cosmogonies detailing the coming-to-being of the physical universe. Extending the purview of creativity beyond the human realm to include the processes shaping the material universe allows us to envision creativity itself in terms of a generative multiplicity that resists articulation in binary oppositional terms and that demands therefore to be thought as ontologically prior to any possible differentiation between the domains of nature and culture, or between reality and its cultural,linguistic representations, challenging us to reimagine not only the relationship between nature and culture but also the problematic of representation that continues to inform much work in the humanities and social sciences. Such a reimagining might proceed precisely from an enlarged understanding of creativity,and in particular of storytelling,and I consider some of the epistemic and writerly implications of this claim for anthropology as a discipline concerned preeminently with exploring and documenting the varieties of human being-in-the-world. [source]


    Wide Awake to the World: The Arts and Urban Schools,Conflicts and Contributions of an After-School Program

    CURRICULUM INQUIRY, Issue 1 2001
    Therese Quinn
    While the benefits of arts involvement are increasingly clear, policies and practices consistent with this recognition are not proceeding apace. Nearly half the schools in the United States have no full-time arts teachers and emphases on "standards" have led to the elimination of the arts in many urban schools. This case study of a multi-year after-school arts program in urban public schools explores challenges and tensions that emerged during the program's implementation. Focusing on understanding the place and purpose of an arts program in a specific community, we employed a grounded theory approach and used multiple data-gathering methods, ranging from observations and interviews to surveys. We found that in serving hundreds of students, employing dozens of staff, and aiming to meet several complex goals, this arts program faced technical challenges that undermined its effectiveness. The arts program also suffered from unaddressed conflicts regarding norms and values. Artists attempted to provide students opportunities for creative exploration, while school staff emphasized control, order, and academic goals. We discuss these tensions and the ways they undermined the arts program. [source]


    The Invention of the Model: Artists and Models in Paris, 1830,1870 by Susan Waller Evil by Design: The Creation and Marketing of the Femme Fatale by Elizabeth K. Menon

    GENDER & HISTORY, Issue 1 2009
    TANIA WOLOSHYN
    No abstract is available for this article. [source]


    Art & Design:The Rhetoric and the Practice

    INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2000
    John Bowden
    In this paper I will outline what I perceive to be the current context in which Art and Design activities operate in Primary and Secondary Schools in England. I will argue that significant advances in the teaching of the subject in the last two decades are being threatened, particularly in the primary sector, due to the impact of a number of factors, including the new ,standards' agenda, and constraints arising from limitations in resources, teaching expertise and deployment, and the effects of assessment. The under achievement of boys will be considered in relation to some observations on differentiation in the subject at Secondary level. The paper will suggest that the attempts by teachers to offer an art curriculum that covers all aspects of artistic activity has led to a superficiality of experience for pupils, and therefore a ,depth' rather than a breadth approach to art curriculum planning is now necessary. The variable impact of Critical Studies activities will be considered, including that of Artists in Schools, and I will suggest that there is an opportunity to extend current art practice encouraging greater risk-taking, through an open-ended problem-solving approach, and a development of work which celebrates pupils' own cultures and interests. [source]


    Artists and subversive metadata

    JOURNAL OF THE AMERICAN SOCIETY FOR INFORMATION SCIENCE AND TECHNOLOGY, Issue 9 2009
    Richard Rinehart
    This article will explore information design as a form of contemporary artistic practice and how artistic and philosophical concepts such as the "performative utterance" operate at the edges of metadata and large-scale technology projects such as the Semantic Web. [source]


    Partly for the Money: Rewards and Incentives to Artists

    KYKLOS INTERNATIONAL REVIEW OF SOCIAL SCIENCES, Issue 2-3 2001
    Ruth Towse
    No abstract is available for this article. [source]


    Visual Images of America in the Sixteenth Century

    LITERATURE COMPASS (ELECTRONIC), Issue 6 2008
    Elaine Brennan
    Artists rarely accompanied sixteenth-century voyages of discovery and exploration.1 As a consequence, few first-hand visual representations of the New World were produced. Despite this, published accounts of the Americas in the sixteenth century often included illustrations. With some notable exceptions, the voyagers themselves did not supply the images, or directly supervise their publication. Accurate or not, these images, together with the texts they illustrated, contributed to the construction of the Americas in European consciousness. Only a small number of original first-hand pictorial works survive today, the most important being John White's drawings of the Algonquian Indians of Roanoke, Virginia, from 1585,86. The recent major exhibition of John White's drawings may provoke new scholarly interest in sixteenth-century visual images of the Americas, a topic which offers a rich and relatively neglected area of study.2 This article offers an introduction to the field together with some suggestions for avenues of further research.3 [source]


    Stigmas of the Tamil Stage: An Ethnography of Special Drama Artists in South India by Susan Seizer

    AMERICAN ANTHROPOLOGIST, Issue 1 2008
    SARA DICKEY
    No abstract is available for this article. [source]


    Clark's In the Deep Midwinter and Hansen's Atticus: Examples of a Two-fold Literature of Life

    NEW BLACKFRIARS, Issue 1024 2008
    Catherine Jack Deavel
    Abstract John Paul II's "Letter to Artists" identified two ways artists, particularly literary artists, can help reveal the nature of man to himself by showing both 1) the threat to human dignity from humans themselves, as well as 2) the possibility of transcendence and redemption as achievement and divine gift breaking into this life. We offer close readings of two contemporary novels as examples. The first way is illustrated by Robert Clark's In the Deep Midwinter, a novel at whose centre is an illegal abortion in the 1950's. We argue that the novel's portrait of suffering and abiding loss effectively shows the devastating effects of moral evil. The characters are conflicted in their desires and chosen actions, and they defend different positions; however, the plot in particular underscores the harm humans can inflict on themselves and others. The second way is illustrated using Hansen's Atticus. We argue that the character of Atticus serves both as an example of a virtuous Christian everyman and as an allegorical representation of God the Father. Redemption becomes possible for the dissolute son Scott when he turns to Atticus, his loving father, for forgiveness. [source]


    A Question of Morality: Artists' Values and Public Funding for the Arts

    PUBLIC ADMINISTRATION REVIEW, Issue 1 2005
    Gregory B. Lewis
    In 1989, the combination of art, religion, homosexuality, ana1 public dollars set off an explosive two-year battle and a decade of skirmishes over funding for the National Endowment for the Arts. To promote artistic freedom and to avoid political controversy, federal arts policy delegates specific funding decisions to private donors and arts professionals. In an era of morality politics,hot-button issues driven by deeply held beliefs rather than by expertise,that strategy no longer works. Artists, donors, and arts audiences diverge widely from the rest of the American public in their attitudes toward religion, sexual morality, and civil liberties, as General Social Survey data show. Delegating funding decisions to them has naturally led to some subsidies of art offensive to important segments of the population. [source]


    Raphael and the bad humours of painters in Vasari's Lives of the Artists,

    RENAISSANCE STUDIES, Issue 2 2008
    Piers D. G. Britton
    ABSTRACT Throughout his monumental series of artists' biographies, and above all in the section of this text dealing with his contemporaries, Giorgio Vasari used the medically related terms ,complexion' and ,humour' in distinct , though not wholly discrete , ways. The former is deployed to comment on artists' innate constitutional strength and on changes in their health, while the latter is invoked primarily to characterize pathological tendencies , often problematic or morally objectionable ones. When correlated with information in other vite, striking passages at the beginning and end of the biography of Raphael serve to clarify how and why Vasari considered certain humours , primarily melancholy, but secondarily choler , particularly destructive in their influence on artists' behaviour. Conversely, the (essentially jaundiced) picture of human temperament in Vasari's text at large serves inversely to underscore the strength of his stated admiration for the ,gracious,' Christ-like Raphael. [source]


    A Galaxy Not So Far Away: Writers and Artists on Twenty-Five Years of Star Wars

    THE JOURNAL OF POPULAR CULTURE, Issue 5 2005
    Steven J. Corvi
    No abstract is available for this article. [source]


    ANALYSIS OF NASRID POLYCHROME CARPENTRY AT THE HALL OF THE MEXUAR PALACE, ALHAMBRA COMPLEX (GRANADA, SPAIN), COMBINING MICROSCOPIC, CHROMATOGRAPHIC AND SPECTROSCOPIC METHODS,

    ARCHAEOMETRY, Issue 4 2009
    C. CARDELL
    The pigments, binders and execution techniques used by the Nasrids (1238,1492) to polychrome carpentry in the Hall of the Mexuar Palace at the Alhambra (Granada, Spain) were studied using optical microscopy, scanning electron microscopy with EDX analysis, selective staining techniques and gas chromatography , mass spectrometry. This pioneering investigation presents the first results of a research project devoted to filling gaps in the knowledge of Nasrid art, traditionally approached by stylistic studies. Moreover, it is essential for the polychromy conservation of the studied artworks, and will help to clarify historical and painting uncertainties in the Alhambra monument. The palette consists of a limited range of colours: white (lead-base pigment), red (cinnabar and red lead), blue (lapis lazuli), black (carbon-based) and false gold (golden tin). Tempera grassa was the painting technique identified. Two types of grounds were used: (i) gypsum in calligraphy decoration for the false gold technique, and (ii) synthetic minium in geometric drawings in carpentry. Organic insulating layers of linseed oil were used between paint strata. Artists applied synthetic minium to protect the wood (Juglans regia and conifer) against attack by xylophages. To lighten the surface darkened by this ground layer, powdered tin was added to achieve a metallic lustre. [source]


    SEXING THE CANVAS: CALLING ON THE MEDIUM

    ART HISTORY, Issue 4 2009
    NICHOLAS CHARE
    The first part of this article explores current art-historical approaches to gender through three case studies: the Venus of Willendorf; Michelangelo; and Artemisia Gentileschi. The second part employs case studies to examine how ideas about gender have historically been articulated and performed through the use of specific media and techniques. There has been little research devoted to how mediums (such as fresco, oil, and watercolour) and techniques (including drip, impasto, and staining) materialize femininity and masculinity. The article seeks to redress this neglect through an examination of some of the ways in which the gendering of materials and modes of art-making has contributed to the construction and deconstruction of sexual difference in the visual field. Artists whose works are considered include Francis Bacon, Thomas Girtin, J.M.W. Turner, and Jack Vettriano. [source]


    Creative marketing and the art organisation: what can the artist offer?

    INTERNATIONAL JOURNAL OF NONPROFIT & VOLUNTARY SECTOR MARKETING, Issue 2 2002
    Ian Fillis
    The poem ,My Paintings', written in a deliberate, uncorrected dyslexic style offers an insight into the mind of a present day avant garde bad boy of British art, Billy Childish. Constantly challenging the art establishment through public demonstrations of distaste against the annual Turner Prize,[Button, V. (1999) ,The Turner Prize', Tate Gallery Publishing, London.] Childish and his cohorts launched an alternative, Stuck-ist, art manifesto,[Alberge, D. (1999) ,Rebels Get Stuck into the Brit Artists', The Times, Thursday 26th August, p. 7.] in the belief that it would assist in a shift in public perception of what good art is, as well as influence the creative practice of those artists concerned with more traditional, authentic forms of art. Childish's ex-girlfriend Tracey Emin, however, has had other ideas. She has revelled in mass media exposure and now dismisses the concept of traditional painting as a valid art from.[Brown, N. (1998) ,Tracey Emin', Art Data, UK.] These are two examples of contrasting creative, artistic behaviour. Their creativity has resulted in varying levels of commercial success. By examining the role that creativity plays in determining how the idea for a creative product is first identified, through to its commercial exploitation, there are valuable lessons contained in such a process for both profit-oriented and nonprofit art organisations alike. Instead of constantly fighting the conflicting philosophies of art for art's sake versus art for business sake, following the market and consumer demand, there is a much more effective method for establishing longer-term success, which mirrors the creative practice of the artist. The existing literature on arts marketing is examined. A critique of the usefulness of current thinking is presented, with the recommendation that the formal models of marketing offered in arts marketing literatures can only ever hope to offer general advice on marketing. What is called for is a much more in-depth analysis of how creative entrepreneurial marketers as artists can offer alternative visualisations of more appropriate models of marketing for the industry. This in turn should result in the stimulation of creative research methodologies that can inform both theory and practice within arts marketing in particular, and the wider remit of marketing in general. The use of the metaphor and the examination of published biographies of creative individuals are used to construct a manifesto of marketing artistry. Copyright © 2002 Henry Stewart Publications [source]


    Fast and Efficient Skinning of Animated Meshes

    COMPUTER GRAPHICS FORUM, Issue 2 2010
    L. Kavan
    Abstract Skinning is a simple yet popular deformation technique combining compact storage with efficient hardware accelerated rendering. While skinned meshes (such as virtual characters) are traditionally created by artists, previous work proposes algorithms to construct skinning automatically from a given vertex animation. However, these methods typically perform well only for a certain class of input sequences and often require long pre-processing times. We present an algorithm based on iterative coordinate descent optimization which handles arbitrary animations and produces more accurate approximations than previous techniques, while using only standard linear skinning without any modifications or extensions. To overcome the computational complexity associated with the iterative optimization, we work in a suitable linear subspace (obtained by quick approximate dimensionality reduction) and take advantage of the typically very sparse vertex weights. As a result, our method requires about one or two orders of magnitude less pre-processing time than previous methods. [source]


    Transferring the Rig and Animations from a Character to Different Face Models

    COMPUTER GRAPHICS FORUM, Issue 8 2008
    Verónica Costa Orvalho
    I.3.7 Computer Graphics: Three-Dimensional Graphics and Realism. Animation Abstract We introduce a facial deformation system that allows artists to define and customize a facial rig and later apply the same rig to different face models. The method uses a set of landmarks that define specific facial features and deforms the rig anthropometrically. We find the correspondence of the main attributes of a source rig, transfer them to different three-demensional (3D) face models and automatically generate a sophisticated facial rig. The method is general and can be used with any type of rig configuration. We show how the landmarks, combined with other deformation methods, can adapt different influence objects (NURBS surfaces, polygon surfaces, lattice) and skeletons from a source rig to individual face models, allowing high quality geometric or physically-based animations. We describe how it is possible to deform the source facial rig, apply the same deformation parameters to different face models and obtain unique expressions. We enable reusing of existing animation scripts and show how shapes nicely mix one with the other in different face models. We describe how our method can easily be integrated in an animation pipeline. We end with the results of tests done with major film and game companies to show the strength of our proposal. [source]


    Diorama Construction From a Single Image

    COMPUTER GRAPHICS FORUM, Issue 3 2007
    J. Assa
    Abstract Diorama artists produce a spectacular 3D effect in a confined space by generating depth illusions that are faithful to the ordering of the objects in a large real or imaginary scene. Indeed, cognitive scientists have discovered that depth perception is mostly affected by depth order and precedence among objects. Motivated by these findings, we employ ordinal cues to construct a model from a single image that similarly to Dioramas, intensifies the depth perception. We demonstrate that such models are sufficient for the creation of realistic 3D visual experiences. The initial step of our technique extracts several relative depth cues that are well known to exist in the human visual system. Next, we integrate the resulting cues to create a coherent surface. We introduce wide slits in the surface, thus generalizing the concept of cardboard cutout layers. Lastly, the surface geometry and texture are extended alongside the slits, to allow small changes in the viewpoint which enriches the depth illusion. [source]


    The Synthesis of Rock Textures in Chinese Landscape Painting

    COMPUTER GRAPHICS FORUM, Issue 3 2001
    Der-Lor Way
    In Chinese landscape painting, rock textures portray the orientation of mountains and contribute to the atmosphere. Many landscape-painting skills are required according to the type of rock. Landscape painting is the major theme of Chinese painting. Over the centuries, masters of Chinese landscape painting developed various texture strokes. Hemp-fiber and axe-cut are two major types of texture strokes. A slightly sinuous and seemingly broken line, the hemp-fiber stroke is used for describing the gentle slopes of rock formations whereas the axe-cut stroke best depicts hard, rocky surfaces. This paper presents a novel method of synthesizing rock textures in Chinese landscape painting, useful not only to artists who want to paint interactively, but also in automated rendering of natural scenes. The method proposed underwrites the complete painting process after users have specified only the contour and parameters. [source]


    DISLOCATING SOUNDS: The Deterritorialization of Indonesian Indie Pop

    CULTURAL ANTHROPOLOGY, Issue 2 2009
    BRENT LUVAAS
    ABSTRACT Anthropologists often read the localization or hybridization of cultural forms as a kind of default mode of resistance against the forces of global capitalism, a means through which marginalized ethnic groups maintain regional distinctiveness in the face of an emergent transnational order. But then what are we to make of musical acts like Mocca and The Upstairs, Indonesian "indie" groups who consciously delocalize their music, who go out of their way, in fact, to avoid any references to who they are or where they come from? In this essay, I argue that Indonesian "indie pop," a self-consciously antimainstream genre drawing from a diverse range of international influences, constitutes a set of strategic practices of aesthetic deterritorialization for middle-class Indonesian youth. Such bands, I demonstrate, assemble sounds from a variety of international genres, creating linkages with international youth cultures in other places and times, while distancing themselves from those expressions associated with colonial and nationalist conceptions of ethnicity, working-class and rural sensibilities, and the hegemonic categorical schema of the international music industry. They are part of a new wave of Indonesian musicians stepping onto the global stage "on their own terms" and insisting on being taken seriously as international, not just Indonesian, artists, and in the process, they have made indie music into a powerful tool of reflexive place making, a means of redefining the very meaning of locality vis-ŕ-vis the international youth cultural movements they witness from afar. [source]


    Cultural Sovereignty in a Global Art Economy: Egyptian Cultural Policy and the New Western Interest in Art from the Middle East

    CULTURAL ANTHROPOLOGY, Issue 2 2006
    Jessica WinegarArticle first published online: 7 JAN 200
    The post-1989 transformation of the Egyptian art world reveals the particular tenacity of colonial logics and national attachments in culture industries built through anticolonial nationalism and socialism. Tensions emerged between and among Western and Egyptian curators, critics, and artists with the development of a foreign-dominated private-sector art market and as Egyptian art begins to circulate internationally. This international circulation of art objects has produced rearranged strategies of governance in the cultural realm, collusions and conflicts between the public and private sector, and, most importantly, a new articulation of cultural sovereignty. [source]


    The Animated Muse: An Interpretive Program for Creative Viewing

    CURATOR THE MUSEUM JOURNAL, Issue 3 2005
    Austin Clarkson
    ABSTRACT Explore a Painting in Depth, an experiment presented in the Canadian Collection of the Art Gallery of Ontario, consisted of a booth that offered seating for two visitors and, opposite them, The Beaver Dam, a 1919 landscape painting by the Canadian artist J. E. H. MacDonald. In a 12-minute audio-guided Exercise for Exploring, visitors were invited to engage in a creative process with the imagery of the painting. This paper sketches how the experiment evolved, presents the background of the Exercise for Exploring, and surveys the effects of the exhibit on a wide range of visitors. The question is raised: How can facilitating visitors' creative responses to artworks be part of the museum's educational mandate and its arsenal of interpretive resources? More broadly: Do strategies that foster and privilege visitor creativity, as well as honor the creativity of artists, affect the accessibility and relevance of the museum for the general public? [source]


    The Artist in Society: Understandings, Expectations, and Curriculum Implications

    CURRICULUM INQUIRY, Issue 3 2008
    RUBÉN A. GAZTAMBIDE-FERNÁNDEZ
    ABSTRACT Disparate and contradicting assumptions about culture play a significant role in how the artist is constructed in the public imagination. These assumptions have important implications for how young artists should be educated and for the curriculum of artistic education. In this article, I theorize three conceptions of the role of the artist in society and the challenge they present for artistic education. I discuss three theoretical conceptions: the artist as Cultural "Civilizer," the artist as "Border Crosser," and the artist as "Representator." Although markedly different, these three conceptions all view the artist as an agent playing an active role in society, or a type of "cultural worker." I argue that these different views of the artist are grounded on different cultural discourses, that each of these discourses constructs the artist as an individual in a particular way, and that each view of the artist corresponds to specific institutions that mediate the role of the artist in society. Furthermore, I suggest the implications that each of these views has for the curriculum of artistic education and the preparation of cultural workers. I suggest that a contemporary artistic education grounded on these views should affirm the role of the artist in the public sphere of a democratic society. [source]


    The arts and restoration: A fertile partnership?

    ECOLOGICAL MANAGEMENT & RESTORATION, Issue 3 2003
    David Curtis
    The creative urge is fundamental to the human condition and provides a conspicuous common ground between members of Landcare and the arts, prompting us to ask whether artists can become more involved in changing community behaviour toward the environment. [source]


    What is Art in Education?

    EDUCATIONAL PHILOSOPHY AND THEORY, Issue 2 2007
    New Narratives of Learning
    Abstract In this paper I address some questions pertinent to the development of school art education. I begin by considering how we relate to art and how we might understand the notion of this relation in terms of human subjectivity and the art object. To do this I describe particular art practices that have broadened social conceptions of art, which in turn, become part of art itself and shape performances of understanding, learning and practice. Implicit to this discussion is a change in how artists, art practice and engagement with art are conceived. I then consider some art events in school art education and analyse how human subjects, art practices and objects are understood in this context. This leads to further remarks about how learners and practice in school art education might be discerned in the light of the preceding discussion. [source]


    On Foreign Ground: One Attempt at Attracting Non-French Majors to a French Studies Course

    FOREIGN LANGUAGE ANNALS, Issue 4 2002
    Article first published online: 31 DEC 200, Jean M. Fallon
    ABSTRACT: This article presents a description of "Americans in Paris," a class in English that was developed to attract nonlanguage majors to French Studies classes. The class focuses on American writers who lived and worked in Paris between 1890 and 1955 as part of a literary and cultural exchange between French and American societies. Learning about French writers and the dynamic, international community of writers and artists who came to Paris in the early twentieth century, students come to understand the literary and cultural heritages that were passed between France and America. The course's content showcases input that French professors can bring to this cross-disciplinary subject by examining American works through a French cultural viewpoint and highlighting French literary and artistic traditions. [source]


    Some ignimbrite localities of the English Lake District

    GEOLOGY TODAY, Issue 1 2009
    David Horsley
    The English Lake District, comprising much of the county of Cumbria, is rightly celebrated for the glories of its scenery, its association with poets and artists, and its geology. One of the founding National Parks in the United Kingdom, it receives thousands of visitors world-wide every year. Geologically, the Borrowdale Volcanic Group, and its ignimbrites in particular, is worthy of greater study; its localities are available to all. [source]


    Juggling Burdens of Representation: Black, Red, Gold and Turquoise

    GERMAN LIFE AND LETTERS, Issue 4 2006
    Tom Cheesman
    ABSTRACT This essay suggests an alternative to the usual practice of categorising migrant writers by generation, in order to counter the teleological tendency in some recent commentaries on German-Turkish writing which celebrate the youngest writers as the most ,advanced'. Instead I put forward the idea that different writers (and writers at different stages in their careers) adopt different strategies in order to cope with the ,burden of representation' which is imposed on them as migrant/minority artists by the public. I survey German-Turkish novelists, outlining a tentative typology of such strategies. ,Axial writing' (directly thematising migrant experience) is the commonest, and has many sub-varieties, but the alternatives are just as interesting. [source]


    Network, exposure and rhetoric: Italian occupational fields and heterogeneity in constructing the globalized self

    GLOBAL NETWORKS, Issue 4 2003
    Massimiliano Monaci
    Drawing on the findings of a broad inter-university research programme conducted in Italy, in this article we explore how individuals' transnational networks combine with other dimensions of their social experience in the production of a self-perception of their own ,global identity'. In particular, attention is focused on the structures and social spaces of everyday life in five crucial occupations (corporate managers, financial services workers, artists, media professionals and schoolteachers) where people's professional action is performed simultaneously along local and global axes. Within these groups the globalized self does not merely reflect individuals' engagement in transnational networks, but is also the outcome of a complex process including two added dimensions of social life in the job setting: (1) the degree and type of non-filtered exposure to pressures stemming from the global environment, which both constrain and enable subjective practices of coping with change and ambiguity; and (2) the degree and type of competence in the rhetorics of globalization, namely the level of access to well-known repertoires of interpretive resources for making sense of global trends. This analysis is consistent with social science conceptualizations arguing for a more nuanced understanding of globalization. In this light, not only is globalization a multidimensional process but it also produces a variety of responses and meanings by differently positioned actors. [source]