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Zu einer neuen Widerstandsästhetik in Literatur und Theater der Gegenwart
Series: Lettre
Terror als Diskurs- und Textphänomen
Series: Lettre

others. POLITICAL ART: NO CONCLUSION This leads to the question of the political potential of art. To my mind, this is a key question in the intersections of the humanities and the social sciences: how do we situ- ate the political of art elsewhere than in the thematic domain, which is so dangerously close to propaganda? In more subtle and effective political art, a compelling narrative unfolds, but not as a series of events told ›in the third person‹. Rather, the narrative is performative, as the work stages an encounter between the work and the viewer. In our

J.: Liberated Cinema: The Yugoslav Experience, Bloom- ington: Indiana University Press 2002. Harrison, Charles/Wood, Paul (eds.): Kunsttheorie im 20.Jahrhundert [2 volumes], Hamburg: Hatje Cantz 2003. Horton, Andrew: “The Rise and Fall of the Partisan Film: Cinematic Per- ceptions of a National Identity”, in: Film Criticism 12.2 (1987): 18-27. Jelinek, Alana: This is not art, London et al.: I B Tauris & Co Ltd 2013. Klanten, R. et al.: Art & agenda: Political art and activism, Berlin: Gestal- ten 2011. Levi, Pavle: Disintegration in frames: Aesthetics and

Forensic Anthropology, hg. v. Dennis C. Dirkmaat, Malden, Oxford: Wiley-Blackwell, 639-648. Fortress Europe (2015), »Immigrants Dead at Frontiers of Europe«, http://fortresseurope. (01.12.2017). Grant, Stefanie (2011): »Recording and Identifying European Frontier Deaths«. In: Euro- pean Journal of Migration and Law 13: 2, 135-156. Grzinic, Marina/Tatlic, Sefik (2014): Necropolitics, Racialization, and Global Capi- talism. Historicization of Biopolitics and Forensics of Politics, Art, and Life, Lanham