Introduction : art and development : a new framework for postwar art -- The semiperipheral art gallery : Gallery Maya, Istanbul -- Democratic abstractions : Bülent Ecevit on art and politics -- "The first coup in the Turkish art world" : the Developing Turkey competition of 1954 -- The artist as agent of development : Füreya Koral between Turkey and the United States, 1955-1958 -- Conclusion : building Istanbul modern : art and development in a twenty-first-century museum.

Stories about institutions and regimes that have failed us are echoing worldwide. This book critically engages the multiple uprisings in the Middle East and North Africa (MENA) following the self-immolation of Tunisian street vendor Mohamed Bouazizi in December 2010. It brings together authors who critically analyse the unstoppable force unleashed in the streets of Tunisia, Egypt, Bahrain, Syria, Libya and Yemen. This book analyses the roots and trajectory of the recent revolts in the context of the global transformations that have redefined the politics of movement and revolution. For example, some authors engage extensively with the strategies embraced by the younger generation of activists. Others argue that the power of these revolutions lies in the people’s creative orientations including their collaborations. While much of the mobilization efforts in these different parts of the world happen through word of mouth, radio, cartoons, placards, and SMS services; sites such as Facebook helped people meet each other with a click, carrying their claims through stories, songs, poetry and art of protest across international borders quickly enabling them to rapidly bring authoritarian regimes to the brink of collapse and make a qualitatively different expression of uprisings. All authors in this volume address the question of the stakes in these revolts, as through them, spectacular and everyday violence can be challenged, and alternative social projects can emerge. Neither a footnote to the West's history, nor an appendix to neoliberal capitalist global projects, people are actively drawing on their power to disrupt domination and oppression, creatively responding to global problems and calling for democratic institutions with viable ecologies. This book was published as a special issue of Globalizations.

Reveals how changing ideas about gender and race shaped - and were shaped by - London and its literature.

Caterina Bernardini gauges the effects that Walt Whitman’s poetry had in Italy from 1870 to 1945: the reactions it provoked, the aesthetic and political agendas it came to sponsor, and the creative responses it facilitated. Particular attention is given to women writers and noncanonical writers often excluded from previous discussions in this area of study. Bernardini also investigates the contexts and causes of Whitman’s success abroad through the lives, backgrounds, beliefs, and imaginations of the people who encountered his work. Studying Whitman’s reception from a transnational perspective shows how many countries were simultaneously carving out a new modernity in literature and culture. In this sense, Bernardini not only shows the interconnectedness of various international agents in understanding and contributing to the spread of Whitman’s work, but, more largely, illustrates a constellation of similar pre-modernist and modernist sensibilities. This stands in contrast to the notion of sudden innovation: modernity was not easy to achieve, and it did not imply a complete refusal of tradition. Instead, a continuous and fruitful negotiation between tradition and innovation, not a sudden break with the literary past, is at the very heart of the Italian and transnational reception of Whitman. The book is grounded in archival studies and the examination of primary documents of noteworthy discovery.

"The book provides a deeper understanding of modern art in the Brazilian context, moving the focus away from the self-declared avant-gardes and towards a broad panorama of modernizing tendencies throughout the period, 1890 to 1945. The backdrop of sertão, favelas, carnival and samba - often left out of accounts that restrict readings of modernism to erudite arenas like literature, fine art or architecture - are foregrounded in an attempt to situate artistic discourses within the social and political struggles of the period. Race, class and ideological conflict are given priority as tools for deconstructing complex debates, too often taken at face value or misread as merely reflexive of European phenomena. The anthropophagic movement (Antropofagia) rates special attention in teasing out the meanings of primitivism in the Brazilian context. The book examines a range of visual cultural materials including paintings, periodicals, graphics and photographs, revealing a hidden archive that calls into question the very essence of how modernism is usually perceived in Brazil. The enduring presence of archaism and violence behind an appearance of modernity reveals itself to be not an anomaly, but rather a product of the tensions inherent to the enduring oligarchical structures of Brazilian culture and society"--

This book argues that ideas first take shape in the human body, appearing on stage in new styles of performance.

This book repositions thinking about rhythm, meter and versification during the “Mechanical Age.” Cutting across disciplinary boundaries, the book examines the rhythmical workings of poems alongside not only Victorian theories of prosody and poetics but also contemporary thinking about labor practices, pedagogical procedures, scientific experiments, and technological innovations. By offering an exploded definition of meter—one that extends beyond conventional foot-based scansion—this book explicates the conceptual and, at times, material exchanges between poetic meter and machine culture. The machines of meter include mid-century theories of abstraction and technologies of smoothness and even spacing; a deeply influential, though rarely credited, system of metrical manufacture; verse produced by a Victorian automaton; the mechanics of the human body and mind and the meters that issued from them; and the promise of scientific machines to resolve metrical dilemmas once and for all.