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| 1 |
ID:
174380
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| Summary/Abstract |
The understanding of modern Arab art is, more often than not, based on individual and collective perceptions that relate to beliefs, culture, and social constructs. Defining qualities or characteristics that make a work of art “Arab” is not a clear-cut endeavor. Many Arab artists appropriated Western techniques, while they strived to combine their newly acquired artistic processes with content inherent in their respective cultures. Some audiences appreciated the new direction the Arab art was taking; however, many artists were harshly criticized of advocating cultural colonialism. A struggle in the field of art, and in other aspects of life took place, due to the increasing fear of losing one’s own tradition and Arab identity in the face of Western culture. This article explores the nature of modern Arab art and Arab identity, its place within a global modernism, and the ways in which Western influences have shaped its development, in addition to understanding the different particularities that have shaped Arab modernism in art specifically.
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| 2 |
ID:
137275
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| Summary/Abstract |
Developments at both the doctrinal and operational level suggest that the ‘post-modernisation’ of China’s PLA Navy (PLAN) has started. Issues such as the maritime disputes in the East and South China Seas and how to create a network of bases or ‘footholds’ outside Asia might slow down or temporarily halt this process. However, as China’s economic presence expands on a global scale, its security interests and those of the international community will overlap increasingly with one another. Consequently, once its transformation has been completed, the PLAN is likely to become a global and cooperative force.
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| 3 |
ID:
109863
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| 4 |
ID:
191625
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| Summary/Abstract |
In this study, I offer a categorization of Salafism based on the concept of vanguardism. Vanguardism suggests how Salafis inhabit the political domain, by posing as the vanguard of a privileged group endowed with a historical mission. Relatedly, I summon the Gramscian concept of “philosophy of praxis.” With this, I intend to reconfigure Wiktorowicz’s classificatory scheme predicated on too stark an opposition between ‘aqīdah (theory) and manhaj (method). The philosophy of praxis accounts for the inherent tension between these two domains. Such tension is manifest in Salafis’ ambiguities, compromises, internal rifts, ideological adjustments, and revisions. Two related Gramscian concepts, historical bloc and modern Prince, bring such considerations more immediately into the political. They highlight, respectively, the political-historical context in which Salafis operate and the political-historical role they play as instances of vanguardism. I then put forth my classificatory scheme in the form of a typology. One axis is represented by the attitude towards the “historical bloc” (pro or anti) and the kind of vanguard posturing that emerges out of it (support, creation, or activation). The other axis is represented by the specific framing of the “Enemy” category on the part of the Salafi vanguard (historical/institutional or essential/identitarian), and the stance they consequently assume towards it (compromise/accommodation or rejection/denunciation). The resulting classification offers six categories (accommodationists, partisans, delayers, agitators, mobilizers, and belligerents). Stressing the fundamental political nature of contemporary Salafism—its vanguardism—they account for its inscription in a specific, modern way of thinking and acting the political.
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| 5 |
ID:
082511
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| Publication |
Hampshire, Macmillan Press Ltd., 1995.
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| Description |
vii, 311p.Hbk
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| Standard Number |
0333611101
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Copies: C:1/I:0,R:0,Q:0
Circulation
| Accession# | Call# | Current Location | Status | Policy | Location |
| 038486 | 909.82/BRO 038486 | Main | On Shelf | General | |
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