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Author: Association of American Railroads. Bureau of Railway Economics
Publisher:
ISBN:
Category : Railroads and state
Languages : en
Pages : 112
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Author: Thomas Müller
Publisher: Policy Press
ISBN: 1529241855
Category : Political Science
Languages : en
Pages : 290
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Available open access digitally under CC-BY-NC-ND licence. Comparative practices are integral to global security politics. The balance of power politics, status competitions and global security governance would not be possible without them. Yet, they are rarely treated as the main object of study. Exploring the varied uses of comparisons, this book addresses three key questions: • How is comparative knowledge produced? • How does it become politically relevant? • How do comparative practices shape security politics? This book takes a bold new step in uniting disparate streams of research to show how comparative practices order governance processes and modulate competitive dynamics in world politics.
Author: Association of American Railroads. Bureau of Railway Economics
Publisher:
ISBN:
Category : Railroads and state
Languages : en
Pages : 112
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Author:
Publisher:
ISBN:
Category : Electronic journals
Languages : en
Pages : 1088
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Vols. for 1970-1973 include: American Society of International Law. Meeting. Proceedings, 64th-67th, previously published separately; with the 68th, resumed being publihsed separately.
Author: American Telephone and Telegraph Company
Publisher:
ISBN:
Category : Government ownership
Languages : en
Pages : 108
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Author: Association of American Railroads. Bureau of Railway Economics
Publisher:
ISBN:
Category : Railroads
Languages : en
Pages : 840
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Author:
Publisher:
ISBN:
Category : Education
Languages : en
Pages : 608
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Author: Fae Brauer
Publisher: Cambridge Scholars Publishing
ISBN: 144386370X
Category : Art
Languages : en
Pages : 457
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Book Description
Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Women’s Salon in 1881 followed by the Independent Artists’ Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the “modern art centre”. Lured by the prospect of being exhibited annually in Salons the size of Biennales today, a huge number and national diversity of artists, from the Australian Rupert Bunny to the Spaniards Pablo Picasso and Juan Gris, flocked to Paris. Yet by no means were these Salons equal in power, nor did they work consensually to forge this “modern art centre”. Formed on the basis of their different cultural politics, constantly they rivalled one another for State acquisitions and commissions, exhibition places and spaces, awards, and every other means of enhancing their legitimacy. By no means were the avant-garde salons those that most succeeded. Instead, as this culturo-political history demonstrates, the French Artists’ and National Fine Art Salons were the most successful, with the genderist French Artists' Salon being the most powerful and “official”. Despite the renown today of Neo-Impressionism, Art Nouveau, Fauvism, Cubism and Orphism, the most powerful artists in this “modern art centre” were not Sonia Delaunay, Émile Gallé, Paul Signac, Henri Matisse or even Picasso but such Academicians as Léon Bonnat, William Bouguereau, Fernand Cormon, Edouard Detaille, Gabriel Ferrier, Jean-Paul Laurens, Luc-Oliver Merson and Aimé Morot, who exhibited at the “official” Salon supported by the machinery of the State. In its exposure of the rivalry, conflict and struggle between the Salons and their artists, this is an unprecedented history of dissension. It also exposes how, just below the welcoming internationalist veneer of this “modern art centre”, intense persecutionist paranoia lay festering. Whenever France’s “civilizing mission” seemed culturally, commercially or colonially threatened, it erupted in waves of nationalist xenophobia turning artistic rivalry into bitter enmity. In exposing how rivals became transmuted into conspirators, ultimately this book reveals a paradox resonant in histories that celebrate the international triumph of French modern art: that this magnetic “centre”, which began by welcoming international modernists, ended by attacking them for undermining its cultural supremacy, contaminating its “civilizing mission” and politically persecuting the very modernist culture for which it has received historical renown.
Author: Great Britain. Board of Education
Publisher:
ISBN:
Category : Education
Languages : en
Pages : 602
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Author: Great Britain. Board of Education
Publisher:
ISBN:
Category : Coeducation
Languages : en
Pages : 604
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Author: Paul Gordon Lauren
Publisher: Stanford, Calif. : Hoover Institution Press
ISBN:
Category : Political Science
Languages : en
Pages : 320
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