Dada is often celebrated for its strategies of shock and opposition; but in Dada Presentism; Maria Stavrinaki provides a new picture of Dada art and writings as a lucid reflection on history and the role of art within it. The original (Berlin-based) Dadaists acute historical consciousness and their modern experience of time; she contends; anticipated the formulations of major historians such as Reinhart Koselleck and; more recently; Franccedil;ois Hartog. The book explores Dada temporalities and concepts of history in works of art; artistic discourse; and in the photographs of the Berlin Dada movement. These photographsmdash;including the famous one of the First International Dada Fairmdash;are presented not as simple; transparent documents; but as formal deployments conforming to a very concrete theory of history. This approach allows Stavrinaki to link Dada to more contemporary artistic movements and practices interested in history and the archive. At the same time; she investigates what seems to be a real oxymoron of the movement: its simultaneous claim to the ephemeral and its compulsive writing of its own history. In this way; Dada Presentism also interrogates the limits between history and fiction.
#1273170 in eBooks 2016-05-19 2016-05-19File Name: B01C0BG1TU
Review
1 of 1 people found the following review helpful. Culture Wars? Music within National Self-ImageBy Dr. Debra Jan BibelJonathan Holt Shannon; author of this book; is an anthropologist whose research uses the performance; forms; and religious; political; and social aspects of music as the focus to examine the roles of traditions or heritage versus and modernity in Syria specifically; and also among Levantine Arabs. The conservative forces of authenticity are in conflict with the often liberal elite views of incorporating modern; i.e.; European or Western classical and popular; structures in music. The problem arises from the very existence of Syria as a relatively new nation (1946) carved out of the centuries old Ottoman Empire. For a Mediterranean area at the crossroads of empires; East and West; authenticity is a highly moot matter among indigenous scholars; critics; and musicians. Aside some agrarian folk tunes and dances; perhaps; how much of Arabian music is truly Arabian when Turkish; Persian; Byzantine; Kurdish; Andalusian; and Syriac Christian influences are found? Even the oud is closely related to the Chinese pipa; lutes having developed; shared; and adopted along the length of the Silk Road. This book seems to present more questions than answers: a very good thing; since Orientialism and stereotypes have influenced Arabs and Western scholars alike. Even the number; names; and origins of maqam modes are debated.Scholarly but highly readable; Among the Jasmin Trees is a perfect follow-up book to Racys Making Music in the Arab World; Waughs Memory; Music; and Religion; and Marcuss survey and documentary CD; Music in Egypt. The scholar-musician tells delightful anecdotes; and interviews with many Syrian experts send him; and us; on a grand tour of the complex musical and cultural issues confronting this people. If these questions seems esoteric and not germane to our own contemporary life; consider when and how the United States developed its own unique American (not including Native American) music after 1776. This surprising; worthwhile book has lessons for us as well. After reading it; Arabic music is no longer a simple category.0 of 0 people found the following review helpful. Among the Jasmine Trees: Music and Modernity in Contemporary Syria (Music Culture)By Linda ShannonThis is a beautifully written; comprehensive study of music culture in the Arab world; in Syria. One walks with the author as he explores this ancient country and how music is intertwined in its contemporary culture.1 of 1 people found the following review helpful. A treat to read.By BrianThis book on music and people deals with authenticity and its construction in a place where music is much more than just music. Scholarly in its orientation; it is written so clearly that one neednt be an ethnomusicologist or anthropologist to read it. It has important implications for the way that we all approach the aesthetics of our identity.
