Donald B. Kraybill, Karen M. Johnson-weiner, S. Nolt
Overview The Amish is a 500-some page university press-sized handbook that touches on a variety of topical areas. The book is the culmination of two and a half decades each of Kraybill’s, Johnson-Weiner’s, and Nolt’s work about the Amish. Karen Johnson-Weiner published a series of linguistic studies through the 1990s, and from these spring-board works later explored more fully schools and New York settlements. Donald Kraybill’s first Amish-focused publication was a Durkheimian study of the Amish and suicide in 1986. From then on he has maintained this functionalist orientation in comparative studies of plain Anabaptists and Amish responses to cultural, economic, and political change. Steven Nolt’s work follows two threads: Amish history, of which his A History of the Amish (1992) stands as the premiere testament, and Amish identity, realized most fully in Plain Diversity (2007), co-authored with Thomas Meyers. While Kraybill and Nolt have collaborated on seven publications, this is Johnson-Weiner’s first publication with either. Given the book’s volumous size and its claim to be the first generalist book about the Amish since John Hostetler’s first edition of Amish Society (1963), we as co-editors felt the book merited special review via a symposium in JAPAS . Three respondents provide reviews: a scholar of the Amish, a scholar outside Amish studies, and an Amishman. The first is Steven Reschly, a JAPAS editorial board member whose research focuses on Midwestern Amish and Amish from around the 1870s to 1930s. His work extends Bourdieau’s theories by arguning for a communitybased Amish repetoire of action. The second reviewer is Benjamin Zeller, who has published several books about New Religious Movements and religion & food. He is Assistant Professor of Religion at Lake Forest College. The third reviewer is Tom Coletti, a long-term convert to the Amish and a farmer in the Union Grove, NC, community. Megan Bogden, a former student in Ohio State University’s Amish Society course, provides a brief book summary.
{"title":"Symposium Review","authors":"Donald B. Kraybill, Karen M. Johnson-weiner, S. Nolt","doi":"10.1386/aps_00008_5","DOIUrl":"https://doi.org/10.1386/aps_00008_5","url":null,"abstract":"Overview The Amish is a 500-some page university press-sized handbook that touches on a variety of topical areas. The book is the culmination of two and a half decades each of Kraybill’s, Johnson-Weiner’s, and Nolt’s work about the Amish. Karen Johnson-Weiner published a series of linguistic studies through the 1990s, and from these spring-board works later explored more fully schools and New York settlements. Donald Kraybill’s first Amish-focused publication was a Durkheimian study of the Amish and suicide in 1986. From then on he has maintained this functionalist orientation in comparative studies of plain Anabaptists and Amish responses to cultural, economic, and political change. Steven Nolt’s work follows two threads: Amish history, of which his A History of the Amish (1992) stands as the premiere testament, and Amish identity, realized most fully in Plain Diversity (2007), co-authored with Thomas Meyers. While Kraybill and Nolt have collaborated on seven publications, this is Johnson-Weiner’s first publication with either. Given the book’s volumous size and its claim to be the first generalist book about the Amish since John Hostetler’s first edition of Amish Society (1963), we as co-editors felt the book merited special review via a symposium in JAPAS . Three respondents provide reviews: a scholar of the Amish, a scholar outside Amish studies, and an Amishman. The first is Steven Reschly, a JAPAS editorial board member whose research focuses on Midwestern Amish and Amish from around the 1870s to 1930s. His work extends Bourdieau’s theories by arguning for a communitybased Amish repetoire of action. The second reviewer is Benjamin Zeller, who has published several books about New Religious Movements and religion & food. He is Assistant Professor of Religion at Lake Forest College. The third reviewer is Tom Coletti, a long-term convert to the Amish and a farmer in the Union Grove, NC, community. Megan Bogden, a former student in Ohio State University’s Amish Society course, provides a brief book summary.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125546502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The exhibit Dowry as a Form of Identity should be viewed by the western audience to gain a clearer understanding of the significance of dowry in the Middle East that breaks the general stereotypical understanding of dowry as bride-price (Anderson 2007), which, as this exhibition shows, holds true only in some parts of the world. The exhibition's title is metaphorical; the dowry loses its traditional 'ceremonial' dimensions to adopt new consumable configurations that highlight the social and expending behaviours of consumers and the flamboyance of wedding rituals within the community. Dowry as a Form of Identity questions the contradictory, yet fluid aspects of the ritual, which negotiate tradition and content, as it alters in context and meaning, through the passage of time. Subsequently, it morphs into an inherent hauler of affluence and power, constructing the consumer's identity and authority. Consumers negotiate, produce, transform and contest the ritual to legitimize their consuming and spending practices.
{"title":"Exhibition Review","authors":"Roma Madan Soni","doi":"10.1386/aps_00010_5","DOIUrl":"https://doi.org/10.1386/aps_00010_5","url":null,"abstract":"The exhibit Dowry as a Form of Identity should be viewed by the western audience to gain a clearer understanding of the significance of dowry in the Middle East that breaks the general stereotypical understanding of dowry as bride-price (Anderson 2007), which, as this exhibition shows, holds true only in some parts of the world. The exhibition's title is metaphorical; the dowry loses its traditional 'ceremonial' dimensions to adopt new consumable configurations that highlight the social and expending behaviours of consumers and the flamboyance of wedding rituals within the community. Dowry as a Form of Identity questions the contradictory, yet fluid aspects of the ritual, which negotiate tradition and content, as it alters in context and meaning, through the passage of time. Subsequently, it morphs into an inherent hauler of affluence and power, constructing the consumer's identity and authority. Consumers negotiate, produce, transform and contest the ritual to legitimize their consuming and spending practices.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126949686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In their essays for the London Review of Books (LRB), Iain Sinclair and Will Self draw on two legacies in particular ‐ that of the essays of Walter Benjamin and Theodor Adorno, and that of Psychogeography and the work of the Situationist International. This article reviews a selection of these LRB essays ‐ appearing between 2002 and 2015. It traces and analyses a dialectical tension within them ‐ inherited from Benjamin and Adorno ‐ as to the commensurability of 'the essayistic' with the delivery of serious, effective Marxist criticism; whether (as Self himself says, noting an analogous tension in the films of Patrick Keiller) they are to see their own work 'as part of a strategy of resistance to the spatial forms of late capitalism, or only as incorporations of the everyday into a bourgeois calculus of the arty-factual'. It is argued that this tension is itself not only characteristic of, but in some way fundamental to their work and its impetus, concluding with a consideration of how the essay form might offer a means of moving beyond ideology (which is the constraint of both capitalism and Marxism alike) ‐ to find a literary analogue to, and vehicle for, the imaginative spatial possibilities and practices that the psychogeographic legacy represents.
{"title":"The essay and psychogeography: Negotiating Marxism in the essays of Iain Sinclair and Will Self","authors":"W. Brown","doi":"10.1386/aps_00007_1","DOIUrl":"https://doi.org/10.1386/aps_00007_1","url":null,"abstract":"Abstract In their essays for the London Review of Books (LRB), Iain Sinclair and Will Self draw on two legacies in particular ‐ that of the essays of Walter Benjamin and Theodor Adorno, and that of Psychogeography and the work of the Situationist International.\u0000 This article reviews a selection of these LRB essays ‐ appearing between 2002 and 2015. It traces and analyses a dialectical tension within them ‐ inherited from Benjamin and Adorno ‐ as to the commensurability of 'the essayistic' with the delivery of serious, effective\u0000 Marxist criticism; whether (as Self himself says, noting an analogous tension in the films of Patrick Keiller) they are to see their own work 'as part of a strategy of resistance to the spatial forms of late capitalism, or only as incorporations of the everyday into a bourgeois calculus of\u0000 the arty-factual'. It is argued that this tension is itself not only characteristic of, but in some way fundamental to their work and its impetus, concluding with a consideration of how the essay form might offer a means of moving beyond ideology (which is the constraint of both capitalism\u0000 and Marxism alike) ‐ to find a literary analogue to, and vehicle for, the imaginative spatial possibilities and practices that the psychogeographic legacy represents.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123279197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Political activism, performativity and social empowerment in contemporary public space are examined with a multi-disciplinary approach to analyse the mass choreographies organized in the sovereignty process of Catalonia. Through the lenses of the performing, visual and environmental arts (dance and architecture), this research looks at the interplay between public space and performance in collective protests, and its roles in shaping the collective experience and in the construction of the commoning.The study focuses on the largest peaceful marches ever organized in contemporary Europe, annually from 2012 to 2017 on September 11 (Catalonia National Day), by Catalan cultural and political activist associations (ANC and Òmniun Cultural) as massive collective actions in support of an independent republic state for Catalonia.The research aims to identify the unique elements of these long-time planned choreographies, and the repeated and embodied ones that are constructing a social identity influential in current semi-improvised protests.The choreography, iconography and impact of the protests are examined at different scales, from the emotional human experience and its local dissemination in social media, to the impressive visual experience of the aerial images at the city and the geographic scale, designed to be broadcasted live by global media. The study's goal is highlighting the design-thinking involved in these massive, peaceful and artistic expressions of emancipatory will, and its role and impact in the collective empowerment, the internal cohesion and the internationalization of the conflict in search of global empathy.
{"title":"Performing freedom: Massive protest in the Catalan sovereignty process: From smiling to resisting","authors":"Sara Bartumeus, E. Vendrell","doi":"10.1386/aps_00005_1","DOIUrl":"https://doi.org/10.1386/aps_00005_1","url":null,"abstract":"Abstract Political activism, performativity and social empowerment in contemporary public space are examined with a multi-disciplinary approach to analyse the mass choreographies organized in the sovereignty process of Catalonia. Through the lenses of the performing, visual\u0000 and environmental arts (dance and architecture), this research looks at the interplay between public space and performance in collective protests, and its roles in shaping the collective experience and in the construction of the commoning.The study focuses on the largest peaceful marches\u0000 ever organized in contemporary Europe, annually from 2012 to 2017 on September 11 (Catalonia National Day), by Catalan cultural and political activist associations (ANC and Òmniun Cultural) as massive collective actions in support of an independent republic state for Catalonia.The\u0000 research aims to identify the unique elements of these long-time planned choreographies, and the repeated and embodied ones that are constructing a social identity influential in current semi-improvised protests.The choreography, iconography and impact of the protests are examined at different\u0000 scales, from the emotional human experience and its local dissemination in social media, to the impressive visual experience of the aerial images at the city and the geographic scale, designed to be broadcasted live by global media. The study's goal is highlighting the design-thinking involved\u0000 in these massive, peaceful and artistic expressions of emancipatory will, and its role and impact in the collective empowerment, the internal cohesion and the internationalization of the conflict in search of global empathy.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117298992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sceptics of Capital Unite!","authors":"M. Jordan","doi":"10.1386/APS.7.2.123_2","DOIUrl":"https://doi.org/10.1386/APS.7.2.123_2","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129438533","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The wrong Malevich: Art, revolution and the public sphere","authors":"M. Hutchinson","doi":"10.1386/aps.7.2.127_1","DOIUrl":"https://doi.org/10.1386/aps.7.2.127_1","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125892449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Public meetings: Rhythms, fragments, art and everyday life","authors":"B. Cittadini","doi":"10.1386/APS.7.2.175_1","DOIUrl":"https://doi.org/10.1386/APS.7.2.175_1","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133923217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The critical invariant: Avant-garde and change","authors":"Euripides Altintzoglou","doi":"10.1386/APS.7.2.145_1","DOIUrl":"https://doi.org/10.1386/APS.7.2.145_1","url":null,"abstract":"","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123911920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sarena Abdullah (S): Hi Eileen Legaspi-Ramirez thank you for agreeing to this online interview. We have worked together under the Ambitious Alignments project in 2015, though the project was under a different research, I also know that you have worked with the community realms back in the Philippines. On behalf of the Art & the Public Sphere journal, I would like to thank you in agreeing in sharing with us the arts engagement especially within the construct of the larger public sphere in the Philippines.
Sarena Abdullah (S):你好，Eileen Legaspi-Ramirez，感谢你同意接受我们的在线采访。我们在2015年在Ambitious Alignments项目下合作过，虽然这个项目是在不同的研究下，我也知道你在菲律宾的社区领域工作过。我谨代表《艺术与公共领域》杂志，感谢您同意与我们分享艺术参与，特别是在菲律宾更大的公共领域的建设中。
{"title":"Art and the community in the Philippines: Conversation between Sarena Abdullah and Eileen Legaspi-Ramirez","authors":"Sarena Abdullah, Eileen Legaspi-Ramirez","doi":"10.1386/APS.7.1.93_7","DOIUrl":"https://doi.org/10.1386/APS.7.1.93_7","url":null,"abstract":"Sarena Abdullah (S): Hi Eileen Legaspi-Ramirez thank you for agreeing to this online interview. We have worked together under the Ambitious Alignments project in 2015, though the project was under a different research, I also know that you have worked with the community realms back in the Philippines. On behalf of the Art & the Public Sphere journal, I would like to thank you in agreeing in sharing with us the arts engagement especially within the construct of the larger public sphere in the Philippines.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125916994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Welcome to Art & the Public Sphere Volume 7, Issue 1, one of the few art journals that focuses on the complex web of regional and international challenges that confront local cultural, religious and political forms of artistic practices in the public sphere. Fundamentally, the journal frames its niche area of examining the critical relationship towards the traditional and conventional debates about art, especially in the context of it being part of or engaged with the public/public sphere. In the past decades, the global geopolitical economy has shifted its focus from Europe to United States, and then in the new millennium, to Asia. Under the geographical premise of Asia, this issue focuses on the selection of papers that address the artistic practice that linked art to the broader shifts of political, social and public spheres. The contemporary artistic practices in Asia have long evolved and have grown exponentially since the 1990s, with the increasing regional biennials and triennials, the establishment of new contemporary art museums and the success of various Asian artists. This encouraged the establishment of various alternative artistic practices that reflected the everevolving and mutative artistic practices in contemporary Asia. Globalization, mobility and the threats and opportunities that new technologies have expanded are also reflected in such artistic practices. Globalization enables the potentially breaking down of boundaries and revolutionizes the way artists think and see. Technologies, low-cost carriers, international
{"title":"Artistic practices in contemporary Asia","authors":"Sarena Abdullah","doi":"10.1386/APS.7.1.3_2","DOIUrl":"https://doi.org/10.1386/APS.7.1.3_2","url":null,"abstract":"Welcome to Art & the Public Sphere Volume 7, Issue 1, one of the few art journals that focuses on the complex web of regional and international challenges that confront local cultural, religious and political forms of artistic practices in the public sphere. Fundamentally, the journal frames its niche area of examining the critical relationship towards the traditional and conventional debates about art, especially in the context of it being part of or engaged with the public/public sphere. In the past decades, the global geopolitical economy has shifted its focus from Europe to United States, and then in the new millennium, to Asia. Under the geographical premise of Asia, this issue focuses on the selection of papers that address the artistic practice that linked art to the broader shifts of political, social and public spheres. The contemporary artistic practices in Asia have long evolved and have grown exponentially since the 1990s, with the increasing regional biennials and triennials, the establishment of new contemporary art museums and the success of various Asian artists. This encouraged the establishment of various alternative artistic practices that reflected the everevolving and mutative artistic practices in contemporary Asia. Globalization, mobility and the threats and opportunities that new technologies have expanded are also reflected in such artistic practices. Globalization enables the potentially breaking down of boundaries and revolutionizes the way artists think and see. Technologies, low-cost carriers, international","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129754580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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