Pub Date : 2020-04-02DOI: 10.1080/17561310.2020.1831747
Esther Gabara, Isabel Adey
Abstract The Bermuda triangle of the title refers to the magical space between three Madrid museums— El Prado, the Museum of the Americas, and the National Museum of Anthropology—in which the coloniality of Spanish society disappears, in the contemporary moment as much as in the historical narrative. This article asks: where is Latin America— specifically, Latin American art—in Spain? It sets out the discursive maneuvers that have obscured that coloniality in art and in the daily activities that allow Spaniards to enjoy Andean potatoes in their tortillas and Mayan chocolate with their churros, without savoring the American bitterness that is their basic ingredient.
{"title":"The Bermuda Triangle of Madrid’s Museums: The Prado, the Museum of the Americas and the National Museum of Anthropology","authors":"Esther Gabara, Isabel Adey","doi":"10.1080/17561310.2020.1831747","DOIUrl":"https://doi.org/10.1080/17561310.2020.1831747","url":null,"abstract":"Abstract The Bermuda triangle of the title refers to the magical space between three Madrid museums— El Prado, the Museum of the Americas, and the National Museum of Anthropology—in which the coloniality of Spanish society disappears, in the contemporary moment as much as in the historical narrative. This article asks: where is Latin America— specifically, Latin American art—in Spain? It sets out the discursive maneuvers that have obscured that coloniality in art and in the daily activities that allow Spaniards to enjoy Andean potatoes in their tortillas and Mayan chocolate with their churros, without savoring the American bitterness that is their basic ingredient.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"128 - 149"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1831747","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43121366","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}
Pub Date : 2020-04-02DOI: 10.1080/17561310.2020.1828679
María Íñigo Clavo
Postcolonial theory, since its inception, has fulfilled the historical function to reconcile Cultural Studies with one of the greatest criticisms leveled against it: its lack of commitment to show ...
{"title":"Editorial: Francoist Spain and Questions of Otherness","authors":"María Íñigo Clavo","doi":"10.1080/17561310.2020.1828679","DOIUrl":"https://doi.org/10.1080/17561310.2020.1828679","url":null,"abstract":"Postcolonial theory, since its inception, has fulfilled the historical function to reconcile Cultural Studies with one of the greatest criticisms leveled against it: its lack of commitment to show ...","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"115 - 127"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1828679","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47496830","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}
Pub Date : 2020-04-02DOI: 10.1080/17561310.2020.1831207
J. L. Marzo
Abstract The 1950s saw an intense collaboration process take place in Spain between the totalitarian government of General Franco and a significant part of the avant-garde artistic scene. Although there are a number of causes for this complex process, it is worth highlighting the role given to a supposed “anti-modern” myth of Spanish culture—symbolized in the Baroque and spiritual transcendence—which was seen as the glue that would bind and unify artistic and political action to benefit all those involved.
{"title":"Tradition and Collaboration between the Avant-Garde and Francoism (1940 to 1960)","authors":"J. L. Marzo","doi":"10.1080/17561310.2020.1831207","DOIUrl":"https://doi.org/10.1080/17561310.2020.1831207","url":null,"abstract":"Abstract The 1950s saw an intense collaboration process take place in Spain between the totalitarian government of General Franco and a significant part of the avant-garde artistic scene. Although there are a number of causes for this complex process, it is worth highlighting the role given to a supposed “anti-modern” myth of Spanish culture—symbolized in the Baroque and spiritual transcendence—which was seen as the glue that would bind and unify artistic and political action to benefit all those involved.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"150 - 184"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1831207","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42967572","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}
Pub Date : 2020-04-02DOI: 10.1080/17561310.2020.1853893
Rafael Sánchez-Mateos Paniagua
Abstract Since 1900, the Maxam Group (formerly Unión Española de Explosivos) has published an annual almanac, with each edition illustrated by a Spanish painter commissioned to produce a work thematically related to the company’s activity. Focusing on what was popularly known as “the museum for those who do not go to museums” or the “explosive women calendar,” this article analyzes the iconographic program of this unique archive from a cultural and historical perspective, with special attention to the Francoist period. The dynamics of the representation of women, the tensions between bourgeois and popular culture, as well as the questions it inspires with respect to the almanac’s life in society and on the institutional level invite the reader to consider this collection, little esteemed for its artistic quality, as a complex cultural mechanism, useful for the analysis of the aesthetic continuities and discontinuities associated with Spanish modernity.
自1900年以来，Maxam集团(前身为Unión Española de Explosivos)每年出版一本年鉴，每一版都由西班牙画家委托制作与公司活动相关的主题作品。这篇文章聚焦于众所周知的“不去博物馆的人的博物馆”或“爆炸性女性日历”，从文化和历史的角度分析了这个独特档案的图像程序，特别关注弗朗哥时期。女性表现的动态，资产阶级文化和流行文化之间的紧张关系，以及它激发的关于年鉴在社会和制度层面上的生活的问题，邀请读者考虑这个收藏，它的艺术品质很少受到尊重，作为一个复杂的文化机制，有助于分析与西班牙现代性相关的美学连续性和非连续性。
{"title":"“The Museum for Those Who Do Not Go to Museums.” A Cultural Exploration of the Almanac of the Unión Española de Explosivos [Spanish Explosives Union] in the Years of the Franco Regime","authors":"Rafael Sánchez-Mateos Paniagua","doi":"10.1080/17561310.2020.1853893","DOIUrl":"https://doi.org/10.1080/17561310.2020.1853893","url":null,"abstract":"Abstract Since 1900, the Maxam Group (formerly Unión Española de Explosivos) has published an annual almanac, with each edition illustrated by a Spanish painter commissioned to produce a work thematically related to the company’s activity. Focusing on what was popularly known as “the museum for those who do not go to museums” or the “explosive women calendar,” this article analyzes the iconographic program of this unique archive from a cultural and historical perspective, with special attention to the Francoist period. The dynamics of the representation of women, the tensions between bourgeois and popular culture, as well as the questions it inspires with respect to the almanac’s life in society and on the institutional level invite the reader to consider this collection, little esteemed for its artistic quality, as a complex cultural mechanism, useful for the analysis of the aesthetic continuities and discontinuities associated with Spanish modernity.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"203 - 245"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1853893","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42969909","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}
Pub Date : 2020-04-02DOI: 10.1080/17561310.2020.1776951
Alicia Fuentes Vega (Universidad Complutense de Madrid)
Abstract This article 1deals with overlooked interactions between art history and colonial discourses within the context of tourism in Spain. It aims to demonstrate the central role played by temporalized narratives of otherness in tourist imaginaries about Spain during the 1950s and 1960s. It focusses on the use of art history as a visual filter through which certain aspects of the country were read and experienced as being stranded in the past, often leading to images of poverty becoming aestheticized. This analysis will throw light on how colonial discourses of temporality and authenticity, rather than ideas of modernization, influenced the international rehabilitation of the Franco dictatorship after the Second World War.
{"title":"As If out of a Goya Painting. Experiencing the past in Francoist Spain","authors":"Alicia Fuentes Vega (Universidad Complutense de Madrid)","doi":"10.1080/17561310.2020.1776951","DOIUrl":"https://doi.org/10.1080/17561310.2020.1776951","url":null,"abstract":"Abstract This article 1deals with overlooked interactions between art history and colonial discourses within the context of tourism in Spain. It aims to demonstrate the central role played by temporalized narratives of otherness in tourist imaginaries about Spain during the 1950s and 1960s. It focusses on the use of art history as a visual filter through which certain aspects of the country were read and experienced as being stranded in the past, often leading to images of poverty becoming aestheticized. This analysis will throw light on how colonial discourses of temporality and authenticity, rather than ideas of modernization, influenced the international rehabilitation of the Franco dictatorship after the Second World War.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"185 - 202"},"PeriodicalIF":0.0,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1776951","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49209606","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}
Pub Date : 2020-01-02DOI: 10.1080/17561310.2020.1769903
Iain Boyd Whyte
Historically, translation in the visual arts was predicated on a deficitbased model, whereby canonical, Eurocentric texts produced in the arthistorical centers of the West are transported into the supposed margins of art history: W€ olfflin into Chinese, for example. Art in Translation has always challenged this model, arguing that its function is to enable cross-cultural dialogue rather than promote a one-way flow. As the editorial to the very first issue of the journal explained:
{"title":"Editorial","authors":"Iain Boyd Whyte","doi":"10.1080/17561310.2020.1769903","DOIUrl":"https://doi.org/10.1080/17561310.2020.1769903","url":null,"abstract":"Historically, translation in the visual arts was predicated on a deficitbased model, whereby canonical, Eurocentric texts produced in the arthistorical centers of the West are transported into the supposed margins of art history: W€ olfflin into Chinese, for example. Art in Translation has always challenged this model, arguing that its function is to enable cross-cultural dialogue rather than promote a one-way flow. As the editorial to the very first issue of the journal explained:","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"1 - 3"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1769903","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45313459","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}
Pub Date : 2020-01-02DOI: 10.1080/17561310.2020.1769905
Rui Oliveira Lopes (Universiti Brunei Darussalam)
Abstract This paper examines the set of fifteen prints included in the seventeenth-century Chinese text Song nianzhu guicheng. This catechism was translated by Portuguese Jesuits serving in the China mission and consists of instructions for spiritual meditation on the fifteen mysteries of the Rosary. The processes of visual acculturation of Christian art will be examined in the context of the transmission of doctrine and instructions for spiritual meditation. The paper discusses the Chinese visual experience and the particular circumstances of the Catholic missions in China during and after the Nanjing persecutions. This paper demonstrates that although the illustrations of the Song nianzhu guicheng were executed and adapted by Chinese artists, the ontological principles of European Renaissance art and the precepts of Christian iconography are still a structural component in the Jesuit methods of teaching and preaching.
{"title":"Jesuit Visual Culture and the Song nianzhu guicheng. The Annunciation as a Spiritual Meditation on the Redemptive Incarnation of Christ","authors":"Rui Oliveira Lopes (Universiti Brunei Darussalam)","doi":"10.1080/17561310.2020.1769905","DOIUrl":"https://doi.org/10.1080/17561310.2020.1769905","url":null,"abstract":"Abstract This paper examines the set of fifteen prints included in the seventeenth-century Chinese text Song nianzhu guicheng. This catechism was translated by Portuguese Jesuits serving in the China mission and consists of instructions for spiritual meditation on the fifteen mysteries of the Rosary. The processes of visual acculturation of Christian art will be examined in the context of the transmission of doctrine and instructions for spiritual meditation. The paper discusses the Chinese visual experience and the particular circumstances of the Catholic missions in China during and after the Nanjing persecutions. This paper demonstrates that although the illustrations of the Song nianzhu guicheng were executed and adapted by Chinese artists, the ontological principles of European Renaissance art and the precepts of Christian iconography are still a structural component in the Jesuit methods of teaching and preaching.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"113 - 82"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1769905","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47850478","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}
Pub Date : 2020-01-02DOI: 10.1080/17561310.2020.1770963
Chitranibha Chowdhury
Abstract In the essay entitled In the Bower of Art, Chitranibha Chowdhury commemorates her art teacher Nandalal Bose, one of the pioneers of modern art in twentieth-century India, widely renowned for reigniting the indigenous painting style, and popularizing pan-Asian art in the contemporary era. Though apparently a commemorative essay, the current text could be read in more than one way. There was hardly any academic and cultural platform in twentieth-century Bengal where women painters could air their views on art, discuss their own artistic practices and make critical commentary and analyses on art and artists. In the male-dominated art world, the literary expressiveness of the women painters of Bengal, much like their artistic creations, remained confined and without a discourse of their own. To them, the very scope of paying tribute to one’s own master was like unlocking the gate of self-expression and throwing it wide open to render their repressed and silenced voices audible in the public domain. This very idea of and approach to self-expression is subversive. The current essay by Chitranibha Chowdhury, written in the vernacular soon after Nandalal Bose’s death, is one such exemplary instance of a truly critical reading.
{"title":"In the Bower of Art","authors":"Chitranibha Chowdhury","doi":"10.1080/17561310.2020.1770963","DOIUrl":"https://doi.org/10.1080/17561310.2020.1770963","url":null,"abstract":"Abstract In the essay entitled In the Bower of Art, Chitranibha Chowdhury commemorates her art teacher Nandalal Bose, one of the pioneers of modern art in twentieth-century India, widely renowned for reigniting the indigenous painting style, and popularizing pan-Asian art in the contemporary era. Though apparently a commemorative essay, the current text could be read in more than one way. There was hardly any academic and cultural platform in twentieth-century Bengal where women painters could air their views on art, discuss their own artistic practices and make critical commentary and analyses on art and artists. In the male-dominated art world, the literary expressiveness of the women painters of Bengal, much like their artistic creations, remained confined and without a discourse of their own. To them, the very scope of paying tribute to one’s own master was like unlocking the gate of self-expression and throwing it wide open to render their repressed and silenced voices audible in the public domain. This very idea of and approach to self-expression is subversive. The current essay by Chitranibha Chowdhury, written in the vernacular soon after Nandalal Bose’s death, is one such exemplary instance of a truly critical reading.","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"12 1","pages":"71 - 81"},"PeriodicalIF":0.0,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2020.1770963","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48970224","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}
Pub Date : 2019-12-01Epub Date: 2019-10-19DOI: 10.1016/j.yexmp.2019.104321
Tianbin Ouyang, Ying Zhang, Shixiong Tang, Yaowen Wang
This article has been retracted: please see Elsevier Policy on Article Withdrawal (https://www.elsevier.com/about/our-business/policies/article-withdrawal). This article has been retracted at the request of the corresponding author and the Editor-in-chief The corresponding author claims that the authors confused multiple pictures in different groups, resulting in overlapping figures among different groups. Fig. 7B has partial overlap with Fig. 7D of a paper authored by a different research group (Y. Gao, et al., LINC00311 promotes cancer stem-like properties by targeting miR-330-5p/TLR4 pathway in human papillary thyroid cancer, Cancer Med. 9 (2019) 1515-1528, https://doi.org/10.1002/cam4.2815). The author claimed that they had sent the pathological sections to a shared platform and that the platform mistakenly sent back pathological results from other institutions which were then used in the manuscript. The Editor-in-Chief has lost the trust in the data and the conclusion, and decided to retract the paper.
{"title":"RETRACTED: Long non-coding RNA LINC00052 regulates miR-608/EGFR axis to promote progression of head and neck squamous cell carcinoma.","authors":"Tianbin Ouyang, Ying Zhang, Shixiong Tang, Yaowen Wang","doi":"10.1016/j.yexmp.2019.104321","DOIUrl":"10.1016/j.yexmp.2019.104321","url":null,"abstract":"<p><p>This article has been retracted: please see Elsevier Policy on Article Withdrawal (https://www.elsevier.com/about/our-business/policies/article-withdrawal).\u0000\u0000This article has been retracted at the request of the corresponding author and the Editor-in-chief\u0000\u0000The corresponding author claims that the authors confused multiple pictures in different groups, resulting in overlapping figures among different groups. Fig. 7B has partial overlap with Fig. 7D of a paper authored by a different research group (Y. Gao, et al., LINC00311 promotes cancer stem-like properties by targeting miR-330-5p/TLR4 pathway in human papillary thyroid cancer, Cancer Med. 9 (2019) 1515-1528, https://doi.org/10.1002/cam4.2815). The author claimed that they had sent the pathological sections to a shared platform and that the platform mistakenly sent back pathological results from other institutions which were then used in the manuscript. The Editor-in-Chief has lost the trust in the data and the conclusion, and decided to retract the paper.</p>","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":"3 1","pages":"104321"},"PeriodicalIF":3.6,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1016/j.yexmp.2019.104321","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91380561","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}
Pub Date : 2019-10-02DOI: 10.1080/17561310.2019.1690296
Yu-Chieh Li
Focusing on Frog King Kwok’s performative work Hark Bun Lum in the 1970s and 1980s, this paper looks at the idea of the abject as an art form and an identarian performance. The abject in Kwok’s pra...
本文以20世纪70年代和80年代郭的表演作品《Hark Bun Lum》为研究对象，探讨了下贱作为一种艺术形式和同一性表演的思想。郭家里的卑鄙小人。。。
{"title":"Translating Happenings: Frog King Kwok’s Abject Play","authors":"Yu-Chieh Li","doi":"10.1080/17561310.2019.1690296","DOIUrl":"https://doi.org/10.1080/17561310.2019.1690296","url":null,"abstract":"Focusing on Frog King Kwok’s performative work Hark Bun Lum in the 1970s and 1980s, this paper looks at the idea of the abject as an art form and an identarian performance. The abject in Kwok’s pra...","PeriodicalId":53629,"journal":{"name":"Art in Translation","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17561310.2019.1690296","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42520173","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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