This beautifully designed exhibition catalogue explores the optically vibrant paintings of the late nineteenth-century Italian Divisionists, examining, for the first time, their relationship to Neo-Impressionism. Artists from both movements subscribed to a painting technique rooted in color theory; held left-wing political views; and pursued similar subject matter--from idyllic landscapes to timely social problems. Arcadia and Anarchy underscores the Italian artists' autonomy from their European counterparts and highlights their importance in pioneering Modernism. Published to accompany the premiere of the exhibition at the Deutsche Guggenheim, Berlin, which was curated by Vivien Greene and will travel to the Guggenheim Museum, New York in the summer of 2007, this focused study of 40 key Divisionist works is the first of its kind to appear in the United States. Featuring work by Giovanni Segantini, Théo Van Rysselberghe, Albert Dubois-Pillet, Georges Seurat, Vittore Grubicy de Dragon, Maximilien Luce, Paul Signac, Emilio Longoni, Camille Pissarro, Angelo Morbelli, Henri-Edmond Cross, Plino Nomellini, Charles Angrand, Giuseppe Pellizza da Volpedo, Giovanni Sottocornola, Jan Toorop and Gaetano Previati, it includes essays by Greene, as well as by noted scholars Giovanna Ginex, Dominique Lobstein and Aurora Scotti Tosini.

A comprehensive survey of Italy's Divisionist painters, the most significant group of avant-garde artists in 19th century Italy.

This volume examines the causes and purposes of 'post-conflict' violence. The end of a war is generally expected to be followed by an end to collective violence, as the term ‘post-conflict’ that came into general usage in the 1990s signifies. In reality, however, various forms of deadly violence continue, and sometimes even increase after the big guns have been silenced and a peace agreement signed. Explanations for this and other kinds of violence fall roughly into two broad categories – those that stress the legacies of the war and those that focus on the conditions of the peace. There are significant gaps in the literature, most importantly arising from the common premise that there is one, predominant type of post-war situation. This ‘post-war state’ is often endowed with certain generic features that predispose it towards violence, such as a weak state, criminal elements generated by the war-time economy, demobilized but not demilitarized or reintegrated ex-combatants, impunity and rapid liberalization. The premise of this volume differs. It argues that features which constrain or encourage violence stack up in ways to create distinct and different types of post-war environments. Critical factors that shape the post-war environment in this respect lie in the war-to-peace transition itself, above all the outcome of the war in terms of military and political power and its relationship to social hierarchies of power, normative understandings of the post-war order, and the international context. This book will of much interest to students of war and conflict studies, peacebuilding and IR/Security Studies in general.

"Born in the eighteen-eighties, Divisionism was an artistic movement that broke away from Impressionism. Georges Seurat, its founder, and Paul Signac, its theoretician, turned away from the rapid rendering of real life as perceived by the eye to reconstruct it according to new principles of harmony. By juxtaposing pure and complementary colors applied directly to the canvas rather than mixed on the palette, Divisionist artists revolutionized the painting of their day and had a lasting influence on the art of the twentieth century. In this catalogue, featuring texts by international specialists, and on the walls of its art center, the Fondation Pierre Arnaud traces this experiment with color, covering a period from 1880 to 1950."--Back cover.

In Sub-Saharan Africa, the spread of democracy since the 1990s has been accompanied by the proliferation of bans on ethnic political parties. A majority of constitutions in the region explicitly prohibit political parties to organize on the basis of race, ethnicity, religion, region and other socio-cultural attributes. More than a hundred political parties have been dissolved, suspended or denied registration on these grounds. This book documents the experience with ethnic party bans in Africa, traces its origins, examines its record, and answers the question whether ethnic party bans are an effective and legitimate instrument in the prevention of ethnic conflict. This book was published as a special issue of Democratization.