Modernity and Femininity: Griselda Pollock

 

  Poonam Vaidya (112416)

Thesis statement:

 What modernist art history celebrates is a selective tradition which normalizes, as the only modernism, a particular and gendered set of practices  which need to be deconstructed in order to appropriately study female artists in the early history of modernism.

Topic statements, Supporting Statements and keywords(Paragraphs 1—36)

Paragraph 1:

Topic Statement: All those canonized as the initiators of modern art are men.

Supporting Statements:

1.       1.    What modernist art history celebrates is a selective tradition which normalizes, as the only modernism, a particular and gendered set of practices.

2.     In order to study female artists in the early history of modernism, we need to deconstruct the masculinist myths of modernism.

Keyword(s(: . selective tradition, particular and gendered set of practices, masculinist myths.

 

Paragraph 2:

Topic Statement: The recent publication 'Painting of Modern Life: Paris in the Art of Manet and his Followers', by T.J. Clark, offers a searching account of the social relations between the emergence of new protocols and criteria for painting — modernism - and the myths of modernity shaped in and by the new city of Paris remade by capitalism during the Second Empire.

Supporting Statements:

1.      Clark thus indexes the Impressionist painting practices to a complex set of negotiations of the ambiguous and baffling class formations and class identities which emerged in Parisian society.

2.     fluidity of class in the popular spaces of entertainment.

3.       The key markers in this mythic territory are leisure, consumption, the spectacle and money.

 

Keyword(s): fluidity of class, recreation, social relations, capitalism.

 

Paragraph 3:

Topic Sentence: It is a mighty but flawed argument on many levels but here 1 wish to attend to its peculiar closures on the issue of sexuality; for Clark the founding fact is class.

Supporting Statements: 

Olympia's nakedness inscribes her class and thus debunks the mythic classlessness of sex epitomized in the image of the prostitute.

Keyword(s):  sexuality, class

 

Paragraph 4:

Topic Sentence:  To recognize the gennder specific conditions of these paintings' existence one need only imagine 1 female spectator and a female product of the works.

Supporting Statements:

1.      these paintings imply a masculine viewer/consumer, the manner in which. this is done ensures the normalcy of that position leaving it below the threshold of historical investigation and theoretical analysis.

2.     Would a woman of Manet's class have a familiarity with  either of these spaces and its exchanges which could be evoked so that the painting's modernist job of negation and disruption could be effective?

Keyword(s): female spectator , masculine viewer/consumer

 

Paragraph 5:

Topic Sentence: So we must enquire why the territory of modernism so often is a way of dealing with masculine sexuality and its sign, the bodies of women - why the nude, the brothel, the bar?

Supporting Statements:  

1.      there is a historical asymmetry - a difference socially, economically, subjectively between being a woman and being a man in Paris in the late nineteenth century.

2.     This difference: the product of the social structurationof sexual difference and not any imaginary biological distinction - determined both what and how men and women painted.

 

Keyword(s): historical asymmetry

 

Paragraph 6:

Topic Sentence: I have long been interested in the work of Berthe Morisot (1841-96) and Mary Cassatt (1844-1926), two of the four women who were actively involved with the Impressionist exhibiting society in Paris in the 1870s and 1880s who were regarded by their contemporaries as important members of the artistic group we now label the Impressionists.

Supporting Statements:

But how are we to study the work of artists who are women so that we can discover and account for the specificity of what they produced as individuals while also recognizing that, as women, they worked from different positions and experiences from those of their colleagues who were men?

Keyword(s): Berthe Morisot, Mary Cassatt, impressionists

 

Paragraph 7:

 

Topic Sentence: We cannot ignore the fact that the terrains of artistic practice and of art history are structured in and structuringof gender power relations.

Supporting Statements:

Analysing the activities of women who were artists cannot merely involve mapping women on to existing schemata, even those which claim to consider the production of art socially and address the centrality of sexuality.

Keyword(s): gender power relations

Paragraph 8:

Topic Sentence: This leads to a major aspect of the feminist project, the theorization and historical analysis of sexual difference.

Supporting Statements:

1.   Difference is not essential but understood as a social structure which positions male and female people asymmetrically in relation to language, to social and economic power and to meanin. 1.   

2.  Modernism or modernity are organized by and organizations of sexual difference. To perceive women's specificity is to analyse historically a particular configuration of difference.

 

 Keyword(s): sexual difference

 

Paragraph 9:

Topic Sentence: How do the socially contrived orders of sexual difference structure the lives of Mary Cassatt and Berthe Morisot?

Supporting Statements: How did that structure what they produced?

Keyword(s): space

 

Paragraph 10:

Topic Sentence: What spaces are represented in.the paintings made by Berthe Morisot and Mary Cassatt?

Supporting Statements: a quick list includes: dining-rooms, drawing-rooms,, bedrooms, balconies/verandas, private gardens

Keyword(s ): locations,  private areas or domestic space

 

Paragraph 11:

Topic Sentence: They are the spaces of bourgeois recreation, display and those social rituals which constituted polite society, or Society, Le Monde.

Supporting Statements:

There are paintings located in the public domain, scenes for instance of promenading, driving in the park, being at the theatre, boating.

\Keyword(s): public domain

 

Paragraph 12:

Topic Sentence:  A range of places and subjects was closed to them while open to their male colleagues who could move freely with men and women in the socially fluid public world of the streets, popular entertainment and commercial or casual sexual exchange.

Supporting Statements:

women were not exposed to everything men were, and this influenced their paintings,

Keyword(s):  women artists

 

Paragraph 13:

Topic Sentence:  The second dimension in which the issue of space can be addressed is that of the spatial order within paintings.

Supporting Statements:

1.      Playing with spatial structures was one of the defining features of early modernist painting in Paris.

2.     Although Morisot and Cassatt enjoyed a close personal relationship with other male artists of their time, and therefore were very much party to the conversations that  shaped the tactics they use, as well as influenced by the

social forces which may well have conditioned the pre-disposition to explore spatial ambiguities and metaphors.

3.     However, the author suggests that spatial devices in the work of Morisot and Cassatt work to a wholly different effect.

Keyword(s)  spatial ambiguities and metaphors, spatial devices

 

Paragraph 14:

Topic Sentence: A remarkable feature in the spatial arrangements in paintings by Morisot is the juxtaposition on a single canvas of two spatial systems - or at least of two compartments of space often obviously boundaried by some device.

Supporting Statements:

1.      What Morisot's balustrades demarcate is not the boundary between public and private but between the spaces of masculinity and of femininity.y

2.     Depicts the level of both what spaces are open to men and women and what relation a man or woman has to that space and its occupants.

Keyword(s): juxtaposition.

 

Paragraph 15:

Topic Sentence:  In Morisot's paintings, moreover, it is as if the place from which the painter worked is made part of the scene, creating a compression or immediacy in the foreground spaces.

Supporting Statements:

1.                establishing a notional relation between the viewer and the woman

2.               defining the foreground, therefore forcing the viewer to experience a dislocation between her space and that of a world beyond its frontiers.

 

 

Keyword(s) dislocation:

 

Paragraph 16:

Topic Statement:  Proximity and compression are also characteristic of the works of Cassatt

Supporting Statements:

1.      The viewer is forced into a confrontation or conversation with the painted figure.

2.     Dominance and familiarity are denied by the device of the averted head of concentration on an activity by the depicted personage.

Keyword(s): radical disruption

 

Paragraph 17:

Topic Statement: In a previous monograph on Mary Cassatt I tried to establish a-correspondence between the social space of the represented and the pictorial space of the representation.

Supporting Statements:

1.      Lydia, at a Tapestry Frame, : The shallow space of the painting which seemed inadequate to contain the embroidery frame at which the artist's sister works tried to explain its threatened protrusion beyond the picture's space into that of the viewer as a comment on the containment of women

2.     Lydia Crocheting in the Garden: The woman is not placed in an interior but in a garden. Yet this outdoor space seems to collapse towards the picture plane, again creating a sense of compression.

 Keyword(s):  containment of women

Paragraph 18:

Topic Statement:  In the case of Mary Cassatt I would now want to draw attention to the disarticulation of the conventions of geometric perspective which had normally governed the representation of space in European painting since the fifteenth century.

Supporting Statements:

1.       Since its development in the fifteenth century, this mathematically calculated system of projection had aided painters in the representation of a three-dimensional world on a two-dimensional surface by organizing objects in relation to each other.   .

2.      It establishes the viewer as both absent from and indeed independent of the scene while being its mastering eye.

Keyword(s): representation of space, geometric representation

 

Paragraph 19:

Topic Statement: Instead of pictorial space functioning as a notional box into which objects are placed in a rational and abstract relationship, space is represented according to the way it is experienced by a combination of touch, texture, as well as sight.

Supporting Statements:

1.      Thus objects are patterned according to subjective hierarchies of value for the producer.

2.     Phenomenological space is not organized for sight alone but by means of visual cues, which  refers to other sensations and relations of bodies and objects in a lived world.

 Keyword(s): Phenomenological space

 

Paragraph 20:

Topic Statement: The painting therefore not only pictures a small child in a room but evokes that child's sense of the space of the room.

Supporting Statements:

1.      It is from this conception of the possibilities of spatial structure that I can now discern a way through my earlier problem in attempting to relate space and social processes.

2.     Considering not only the spaces represented, or the spaces of the representation, but the social spaces from which the representation is made and its reciprocal positionalities. .

3.     This point of view is neither abstract nor exclusively personal, but ideologically and historically construed.

 Keyword(s): positionalities, spatial structure

 

Paragraph 21:

Topic Statement: Femininity is both the condition and the effect.

Supporting Statements:

1.      The spaces of femininity are those from which femininity is lived as a positionality in discourse and social practice.

2.     They are the product of a lived sense of social locatedness, mobility and visibility.

3.     They demarcate a particular social organization of the gaze which itself works back to secure a particular social ordering of sexual difference.

Keyword(s): spaces of femininity,  male gaze

 

Paragraph 22:

Topic Statement: As Janet Wolff has convincingly pointed out, "the literature of modernity describes the experiences of men."

Supporting Statements:

1.      It is essentially a literature about transformations in the public world and its associated consciousness.

2.     It is generally agreed that modernity as an mineteenth century phenomenon is a product of the city.

3.     It is a response in a mythic or ideological form to the new complexities of a social existence passed amongst strangers in an atmosphere of intensified nervous and psychic stimulation,

 Keyword(s): transformations in the public world, the phenomenon of modernity,

 

Paragraph 23:

Topic Statement: What I have described above takes place within and comes to define the modern forms of the public space changing, as Sennett argues in his book significantly titled "The Vail of Public Man, from the eighteent hcentury. Formation",  to become more mystified and threatening but also more exciting and sexualized.

Supporting Statements:

1.      One of the key figures to embody the novel forms of public experience of modernity is the flaneur or impassive stroller, who symbolizes the privilege or freedom to move about the public arenas.

2.     The flaneur embodies the gaze of modernity which is both covetous and erotic.

Keyword(s): flaneur

 

Paragraph 24:

Topic Statement: But the flaneur is an exclusively masculine type which functions within the matrix of bourgeois ideology through which the social spaces of the city were reconstructed by the overlaying of the doctrine of separate spheres on to the division of public and private which became as a result a gendered division.

Supporting Statements:

1.      In contesting the dominance of the aristocratic social formation they were struggling to displace, the emergent bourgeoisies of the late eighteenth century refuted a social system based on fixed orders of rank, estate and birth and defined themselves in universalistic and democratic terms.

2.     However, there was a definite bias in their definitions, which they compensated for by two theories, one being the natural one, where women were naturally inferior to men, and the theological one, where men belonged to the public sphere and women to the private sphere.

 

 Keyword(s): bourgeois ideology, founded on inequality, partiality, justifications

 

Paragraph 25:

Topic Statement: Woman was defined by this other, non-social space of sentiment and duty from which money and power were banished.

Supporting Statements:

Men, however, moved freely between the spheres while women were supposed to occupy the domestic space alone.

 Keyword(s):  women, men, spheres, mental map

 

Paragraph 26:

Topic Statement: None

Supporting Statements: None

 Keyword(s): purely idological maps, the concrete organization of the social sphere.

 

Paragraph 27:

Topic Statement: None

Supporting Statements: None

 Keyword(s): specifically bourgeois way of life.

 

Paragraph 28:

Topic Statement: For bourgeois women, going into town mingling with crowds of mixed social composition was not only frightening because it became increasingly unfamiliar, but because it was morally dangerous.

Supporting Statements:

1.    The public space was officially the realm of and for men; for women to enter it entailed unforeseen risks.

2.    For instance in La Femme (1858-60) Jules Michelet writes about the perils a single woman faces in the city, she can not go out in the evening, or go alone to a restaurant, and if she does, she will have to face the ridicule of men.

 Keyword(s): bourgeois women, public spaces

 

Paragraph 28:

Topic Statement:  The public domain became also a realm of freedom and irresponsibility if not immorality.

Supporting Statements:  

1.    Immorality were different for men and women

2.    For women, going out meant the risk of losing one's virtue, dirtying oneself, disgracing oneself.

3.     For the man going out in public meant losing oneself in the crowd away from the demands of respectability.

 Keyword(s): immorality, going out in public

 

Paragraph 29:

Topic Statement:  These territories of the bourgeois city were, however, not only gendered on a male/female polarity.

Supporting Statements:

The territories  became the sites for the negotiation of gendered class identities and class gender positions.

The significant spaces of modernity are neither simply those of masculinity, nor are they those of femininity, but a marginal or interstitial space where the fields of the masculine and feminine intersect and structure sexuality.

Keyword(s): significant spaces of modernity, gendered class identities and class gender positions.

Paragraph 30:

Topic Statement: None

Supporting Statements: None

 Keyword(s): Renoir,, Mary Cassatt,

 

Paragraph 31:

Topic Statement: They are set at an oblique angle to the frame so that they are not contained by its edges, not framed and made a pretty picture for us as in The Loge [Plate 18] by Renoir, where the spectacle at which the scene is set and the spectacle the woman herself is made co offer, merge for the unacknowledged but presumed masculine spectator.

Supporting Statements:

1.      The author makes a distinction between Renoir and Cassatt's paintings

2.     In Renoir's First Outing, we also experience the main figure's excitement, while she seems totally unaware of offering such a delightful spectacle, and the lack of self confidence only adds to the charm.

3.     The stiff and formal poses of the two young women in the painting by Cassatt were precisely calculated as the drawings for the work reveal. Their erect posture, create a telling effect of suppressed excitement and extreme constraint and unease.

Keyword(s):  Renoir, Cassatt, paintings of women, differences.

 

Paragraph 32:

Topic Statement:  In a later painting. At the Opera, 1S79 [Plate 19], .1 woman is represented dressed in daytime or mourning black in a box at the theatre.

Supporting Statements:

1.   She looks from the spectator into the distance in a direction which cuts across the plane of the picture.

2.     The picture thus juxtaposes two looks, giving priority to that of the woman who is, remarkably, pictured actively looking.

Keyword(s):  juxtaposes two looks

 

Paragraph 33:

Topic Statement:  This is, in a sense, the subject of the painting — the problematic of women out in public being vulnerable to a compromising gaze.

Supporting Statements: 

1.    Social spaces are policed by men's watching women.

2.    The positioning of the spectator outside the painting in relation to the man within it serves to indicate that the spectator participates in that game as well.

3.      The woman figures as the subject of her own look as she is seen actively looking, and is wearing opera glasses, thus cant be objectified.

Keyword(s): gaze

 

Paragraph 34:

Topic Statement:  [...] In the ideological and social spaces of femininity, female sexuality could not be directly registered.

Supporting Statements:

1.   This has a crucial effect with regard to.the use artists who were women could make of the positionality represented by the gaze of the flaneur —and therefore with regard to modernity.

2.     The gaze of the flaneur articulates and produces a masculine sexuality which in the modern sexual economy enjoys the freedom to look, appraise and possess, in deed or in fantasy.

Keyword(s): femininity, female sexuality, flaneur .

 

Paragraph 35:

Topic Statement:  But a line demarcates not the end of the public/private divide but the frontier of the spaces of femininity.

Supporting Statements:

1.      Below this line lies the realm of the sexual-ized and commodified bodies of women, where nature is ended, where class, capita! and masculine power invade and interlock.

2.     It is a line that marks off a class boundary but it reveals where new class formations of the bourgeois world restructured gender relations not only between men and women but between women of different classes.

Keyword(s):  class boundary, class formation, restructured gender relations.

 

Paragraph 36:

Topic Statement: I hope it will by now be clear that the significance of this argument extends beyond issues about Impressionist painting and parity for artists who are women.

Supporting Statements:

1.    The spaces of femininity still regulate women's lives - from running the gauntlet of intrusive looks by men on the streets to surviving deadly sexual assaults.

2.    The configuration which shaped the work of Cassatt and Morisot still defines our world.

3.      It is relevant then to develop feminist analysis of the founding moments of modernity and modernism, to discern its sexualized structures, to. discover past resistances and differences, to. examine how women producers developed alternative models for negotiating modernity and the spaces of femininity.

 

Keyword(s):  feminist analysis, spaces of femininity, modernity, sexualized structures

 

 

 

 

 

 

--
Regards,
Poonam

Modernism, Post Modernism and the Problem of the Visual in Afro American Culture : Michele Wallace

Sadhana Shanbhag

1124123

Paragraph 1

Topic Sentence (TS)

In 1954 in the case of Brown versus The Board of Education, the Supreme Court ruled

that segregated schools were inherently unequal, discriminatory and illegal.

Supporting Sentence

Made by NAACP , the case include finding by two black PhD's Kenneth & Mamie

Clarke who used a doll and colouring test to find out how racism and segregation

damaged self esteem of black children.

Key Word: - segregation.

Paragraph 2

TS

There has been much debate in the fields of psychology and sociology and about the

meaning o Clarke's research, most of t focused upon the scientific validity of testing

methods.

Supporting Sentence

It is not unusual for media to refer back to this research as evidence and racism is an

unambiguously deprivational experience while ignoring w hat the visual implications of

such findings might be.

Key Word: - Scientific Validity

Paragraph 3

TS

The documentary interpreted this information as corroboration of the fact that blacks are

still comparatively poor and disenfranchised in comparison to whites

No Keyword

Paragraph 4

TS

Poverty and powerlessness feeds a child's perception of what it means to have black skin,

but his process is much more complex than a direct correlation could encompass.

Supporting Sentence

The societies already operative evaluation of images further inscribe by skin color that

affects the child's opinion of race.

No Keyword

Paragraph 5

TS

The absence of back images in the reflection of social mirror, which such programmatic

texts invariably construct, could and did produce the void and the dread of racial

questions that Clarke fond in the fifties particularly in the northern black children who

already were attending integrated schools.

Supporting Sentence

On the other hand, southern children who attended segregated schools displayed less

ambivalence.

Keyword: - Image.

Paragraph 6

TS

We all know in our hearts as any mere child in our midst today must know that

in "nigger," "black," and "Schwartze," are often used interchangeably in our language to

mean an abject "other," and yet we persist in denying it just as the NAACP, Kenneth &

Mamie Clarke and the Supreme Court denied it in 1954.

Supporting Sentence

Donald Newman's charcoal drawings and Jackie Mason's reference of a mayoral

candidate as a schwartze and a sizeable downtown New York controversies showed that

this charade which has become one of the principal tenets of bourgeois humanism that

color is an innately trivial matter.

Keyword:-Color

Paragraph 7

TS

How one is seen as black and therefore what one sees in a white world is always already

crucial to ones existence as afro American.

Supporting Sentence

The very markers that reveal you to the rest of the world are visual. Not being seen

by those who don't want to see you because they are racist, what Ralf Ellison called

Invisibility.

Keyword:- Invisibility

Paragraph 8

TS

Among other things afro Americans have not produced because they have been prevented

from doing so by intra racial pain and outside intervention, a tradition in the visual arts as

vital and compelling to other Americans as the afro American tradition in music.

Supporting Sentence

The necessity which seems to persist of its own volition for drawing parallels or

alignments between afro American music and everything else cultural among afro

Americans stifles and represses most of the potential for understanding in afro American

Culture.

Keyword Positive/Negative Seen of Instruction.

Paragraph 9

It appears that the only reason black artists aren't as widely accepted as black writers is

because shifts in art historical judgment results in extraordinary economic contingencies.

Supporting Sentence

The closed economic nepotism of the art world creates a situation in which artists of a

colour, face and industry wide restraint of trade limiting the ability to show and sell their

work.

Keyword:- Economic

Paragraph 10

TS

If black writers had to rely on the kinds of people that determine the value of art and had

to be accepted into rich white people homes none of us would have heard of the great

black writer.

No Supporting Sentence

No Key Word

Paragraph 11 – 14 context "history of the author's fascination with the visual"

Summary

Growing up in the author constantly found herself in a world where though speaking

of race was an embarrassing topic, there was no a single visual reference of black .

Television rarely had a black face, comics and magazines had no mention of the word

race. On a visit to art galleries of France and Italy, there were only endless streams of

white faces

Key word :-Race and Visual

Paragraphs 15 – 17 context of Black Aesthetic

The author finds that the whole concept of self-consciousness developed by Kenneth and

Mamie Clark was something that would later be called "Black Aesthetic" but for a very

long time was confined to the problem of not liking dolls the same colour as yourself ,

unless carefully educated to do so. Also citing her mother example, Faith Ringgold

obsessed herself trying to take seriously her relationship to the tradition of Western

painting, before she became interested in the questions of a Black Aesthetic.

Key Word: - Black Aesthetic

Paragraph 18

TS

According to Raymond Williams, hegemony is a process that relies upon the mechanisms

of tradition and canons of old Masters in order to waylay the utopian desires that are

potentially embodied in cultural production

Supporting Sentence

The underlying structure of tradition lies in wait behind contemporary variations which

are selective in favour of maintaining the dominance of a brutal status quo as much as

one may try to subvert it.

Key Word: - Tradition

Paragraph 19

TS

I cannot recall a time during which I didn't perceive Western Art and Western Culture

as a problem in ways that seem to me now akin to the manner in which Modernism, Post

Modernism and Feminism raises such Problems

No Supporting Sentence

No Key Word

Paragraph 20

TS

It was widely interpreted among a black Middle class intelligentsia in the '50s

and '60s , "they," or white Euro – American high Modernism, had borrowed from "us,"

the African peoples of the world, even if "they" were incapable of admitting it.

Supporting Sentence

The debate was precisely situated in the paradox that Picasso, Cubism and subsequent

Modernists had borrowed heavily from African Art,

Key Word: - Borrowed

Paragraph 21

TS

My Interest in Modernism only accelerated once I had become knowledgeable enough

about the visual and literary production of both Afro-Americans and white Europeans and

Americans in this century to know that Modernism took place in the Afro-American as

well as in the white American –European milieu

Supporting Sentence

"Critical Signification," is an attempt to describe the mechanical relationship between

Afro-American culture and Euro-American Culture

Supporting Sentence 2

This Relationship can also usefully be described as dialogical, or as one of intertexuality

Key Word:- Relationship

Paragraph 22

TS

But the problem remains the unilateral unwillingness of Euro-American culture to admit

and acknowledge its debt, or even relationship, to African and Afro-American culture.

Supporting Sentence

In fact this problem, has such a long and convoluted history that its enunciation has

become one of the telling features of Afro-American Modernism

Supporting Sentence 2

One of the early practioners of Afro-American literary Modernism , Ralph Ellison, even

gave it a name: invisibility

Key Word:- Problem

Paragraph 23

TS

According to the myth of the blackness in Ellison's Invisible man, it is the opposite of

whiteness, or it is so much "the same" that it is invisible

Supporting Sentence

Both dynamics are, infact , aspects of this "invisibility's" inevitable and structural binary

opposition.

Supporting Sentence 2

Invisibility, a visual metaphor, is then employed as a way of presenting a variety of

responses to racism and cultural apartheid.

Key Word:- Invisibility

Paragraph 24

There is a problem of being the patriarch of a black family whose role must be defined in

opposition to that of the patriarch of the white family.

Supporting Sentence

Myth constructs' the black family on a model contrasting with the Freudian/Oedipal/

Modernist drama of individuation

Supporting Sentence 2

The most psychologically damaging residual is that the subjectivity of the black woman

becomes unimaginable

Key Word :- Subjectivity

Paragraph 25

TS

In Euro-American Modernism, and in Afro-American Modernisms, as well , for that

matter, the position of the "other" is as unitary and as incapable of being occupied

by categories more diverse than "women and blacks" as was the formerly unified ,

omniscient subject from which it split

No Supporting Sentence

Keyword :- "Other"

Paragraph 26

TS

The difference in motivation is only a function of the extent to which the performance

and consumption of these texts are interrogated by a critical discourse emanating from

white, black ( brown) feminist and Afro-Americanism discourses.

Supporting Sentence

The relative scarcity of such interrogation in the media and in academia is as telling as

the relative scarcity of a multicultural "object" presence in the various field of visual

production, from museum administration to film

Key Word :- Motivation

Paragraph 27

TS

But we move from the Afro-American Modernist novel par excellence to the Afro-

American Post modernist novel par excellence , Ishmael Reed's Mumbo Jumbo, there is

an interesting black female character who comes in view,

Supporting Sentence

It is the dancer who shares African art, and with Picasso and the Cubists , a mutual

location is Paris of the '20s.

Keyword :- Juxtaposition

Paragraph 28

TS

When one arrives at the Post Modern scene, marked as it is by reproduction and

simulation, the rampant exploitation of international capitalism, not to mention much

speculation regarding the death of the subject, the death of history and the total blurring

of lines between pop culture and high culture, spin-offs of the Josephine Baker model

proliferate.

Supporting Sentence

There was also a popularity in Europe of an ethnographic photography issuing from the

process of the colonial/anthropological exploitation of a third world Asia and Africa that

proceeded and overlapped with a burgeoning interest in Europe in African and Oceanic

art which is really about an interest in other ways of seeing and looking that had not

before occurred to the west

Keyword: - Exploitation

Paragraph 29

TS

In this way, representation of black women with large and fatty buttocks came to signify

not only black women but all other categories of women , such as prostitutes, who were

thought to be as sexually wonton as black women

No Supporting Sentence

Keyword :- Sexually Wonton

Paragraph 30

TS

Les Demoiselles might be seen as illustrating the occasional advantage of art over

institutionalized history or science in that it seems to represent the desire to both reveal

and repress the scene of appropriation as a conjunction of black/female bodies and white

culture- a scene of negative instruction between black and white art or black and white

culture

Supporting Sentence

Gillman describes Hottentot Venus (by Picasso) as prolegomena to intersection issues of

race and sexuality in Les Demoiselles D'Avignon of five years later.

Keyword:- Prolegomena

Paragraph 31

TS

Unlike the positive scene of instruction of Afro-American and Euro-American music

in which mutual influence and intertexuality is acknowledged , in the negative scene of

instruction of Afro-American art and Euro-American art the exchange is disavowed and

disallowed .

Supporting Sentence

And, in more or less simultaneous with this subtle but effective metamorphosis, the black

Aesthetic emerges as the unambivalent, uncompromised link-up between Africa and

the "New World" in which Euro-American Influences are superfluous and negligible

No Keyword

Paragraph 32:

TS

Herein lies my opportunity to usher forth new knowledge as Pollock names it in

conceptualizations of the visual in Afro-American culture that would consider the inter

dependency in issues of ethnicity and sex.

Supporting Sentence

This new knowledge would be constituted in the excavation of the black artistic

versus the white artistic experience under the historic heading of modernism and post-

modernism.

Keyword: New knowledge.

Paragraph 33:

TS

What gives modern primitivism any critical import in this cultural revisioning of the

visual that it appears to be an ongoing category in the modernist, post-modernist and

feminist discourses, a fundamental way of discounting the blackness of the occasional

black artist whose accepted within the ranks while rejecting the category of black artist in

general.

No Supporting Sentence.

Keyword: Modernist primitivism.

Paragraph 34:

TS

This disembodiment with its attendant disexualization of black literature and high culture

occurs in response to the over sexualization of black images in white mass culture.

Supporting Sentence:

If this process of desexualization and deprimitivization had not been in the black high

culture within Afro-American studies, there would be many more black female artists,

writers and singers.

Keyword: disexualization.

Paragraph 35:

TS

On the other hand, the absence of black voices in the debate over Primitivism show The

Museum Modern Art in 1984 was no accident.

Supporting Sentence:

Therefore, it should come as no surprise that in a few isolated instances so called

primitive art would be as good as western art for the people who made these objects as

people too.

Keyword: Primitive Art.

Paragraph 36:

TS

Yet I am not convinced that minority artists of the colour in the west who in some

sense along with African and third world artists, the rightful heirs to the debate around

Primitivism will ever surface up in discussion.

No Supporting Sentence.

No Keyword.

Paragraph 37:

TS

Black criticism was blocked from the discussions of modernism which are defined as

exclusively white by intricate and insidious cooperation of art galleries, museums and

also, blocked from any discussion of primitivism which has been colonized beyond

recognition in the space of the international and global museum.

No Supporting Sentence.

No Keyword.

Paragraph 38:

TS

Primitivism becomes the magical commodity whereby white European art will

appropriate the ritual function of tribal art and resist the process, which the museum

space makes inevitable of being reduced to a lifeless commodity.

No Supporting Sentence.

Keyword: Magical commodity.

Paragraph 39:

TS

And yet finally, there is only an implied entry way here for the artist or the critic of

colour who is not a member of the post colonial intellectual elite suffer the problems of

modern and cultural identity. Perhaps more than anyone and the unified subject of this

and another analysis of the post modern never mind the modern continues to render us as

invisible and silent.

Keyword: Minorities.

Paragraph 40:

TS

The so called discovery of tribal objects by Modernism is analogous to an equally

dubious discovery of the new world by European colonization.

Supporting sentence 1:

What was there was not, infact, "discovered but rather appropriated or stolen".

Supporting sentence 2:

In other words, both European and non-European cultures were transformed by "new"

and closer relationship to one another in the new world.

Keyword: Proximity.

Paragraph 41:

TS

While the most concrete sign of that something new is generally referred to as Post

Modernism, unfortunately this move usually carries along with it the inscription of

modernism's apartheid.

Supporting sentence:

There is another sign just as indicated of novelty which is best represented by the cultural

contributions of Afro-Americans to popular culture.

Keyword: Modernism's apartheid.

The Other Story : Rasheed Araeen

Amol Kadam

1124110

Paragraph 1

This is a unique story. It is a story that has never been told .But because it only existed in fragments,each asserting its own autonomous existence .... context of collective history. A story of those men and women who defied their 'otherness'.

My own struggle as an avant-garde artist (in the west)......without this struggle it would not have been possible.....recognize the importance of this story. It is not the only story."to tell other stories than the official sequential or ideological ones produced by institutions of power".

Paragraph 2

My aims are exploratory rather than critical. The exploration must take into consideration the change that has taken place in the world since the last war,in particular the mass emigration of people from the Africa,Asia and the Caribbean to the West......challenged the old social structures of the colonizer and the colonized.

Decolonization across the world,with its specific articulation in the metropolis.

Paragraph 3

It would be a mistake to emphasize only the socio-political determinants of the mass emigration.....understand the actual aims of individual artists who left their countries to fulfill artistic ambitions abroad.

We should recognize the peculiarity of these ambitions.........not merely by success in the market..........but by the artist's entry into the history of art.

This will allow the work to be seriously discussed and recognized for its historical significance. Dominant ideology of imperial civilization....racial or cultural differences of the colonized constitutes the 'Otherness'.Other is a part of history as long as it stays outside master narrative.

Paragraph 4

Would it be possible to inscribe.......within the master narrative of modern art history?

Unresolvable contradiction. A slap in the face of Hegelian metaphysics.

History of art still being written according to Hegelian historical framework. Arbitrary removal of other cultures which are not western art.

Paragraph 5

Hegel looks at Indian art and inferiorizes it comparing with Greek art. Hegel removes India from any dynamic history .......helps establish supremacy of Western culture.

"The Hindo race has proved itself unable to comprehend either persons or events as a part of

continuous history...."

Paragraph 6,7

Art historian John Ruskin,......,did not hesitate to use strong words to belittle other cultures.'The difficulty to distinguish between noble grotesque of these great nations,and the barbarous grotesque of mere savages,as seen in the work of the Hindoo and other Indian nations.....'

As a comparison to Greek art he quotes 'An Indian bull,colossal,elaborately carved.....a type of bad art of all the Earth. We will not ask date as it may rest in the external obscurity of evil art,everywhere and forever. And in comparison to Greek art he quotes 'here is a bit of Dedalus' work,enlarged from a coin not bigger than a shilling......'

Paragraph 8

What do we make of it? Diatribe? Diatribe may be a strong word,but can we consider this an objective view.? What is the basis of this 'objectivity'?

Other than the power of his speech not so much from an intellectual argument but from his consciousness of belonging to the privileged class of British Empire?

Is this objectivity a camouflage to hide the imperial fantasies.

Paragraph 9

John Ruskin not alone in his view. Views not expressed openly. Assumptions and attitudes exist which considers other cultures/people outside modern history.

Attitudes pervasive and intransigent,that the presence of 'others' in modern world seen with suspicion. The question of modernity outdated and gives way to postmodernism.

Paragraph 10

A World History Of Art winner of Mitchell Prize in 1982...represent for the first time all culture in the world equally.

This pluralism ends,in this book,by the end of nineteenth. African/Oceanic culture taken up again only in connection with modernism,development of styles in particular cubism. After this everything non-European disappears. West shines alone,the whole world reflected in its image.

Paragraph 11

This book praised by Kenneth Clark:'Much the best complete history of art....put together'.

It discusses the arts of Asia,Africa,the Americas and the Pacific Islands as well as Europe chronologically .It falls into the established pattern that obscures achievement of other cultures......on the assumption that other people belong to historically receding cultures. Again a recollection Of Hegelian principles,that assumes that the ultimate narrative is the narrative of Western civilization from which others must be excluded.

Paragraph 12

Art history is peculiar in its function as a master narrative,not only is it fundamental in the recognition and legitimation of art ....only discourse which protects its Western territory so rigidly that we find hardly any exception to its Euro-centric rules.

Paragraph 13

We are confronted here by a discourse which is complex and ambivalent.....when the mask of objectivity is lifted,what is revealed is not only a phoney rationalization but a structure that is mythical.

Mythic structure hides the contradictions of imperial society .Its ambivalence ,expressed particularly in its fascination for the others traditions. Reaffirmation of the centrality of Western/white artist in the paradigm of modernism.

Paragraph 14

If art history is an ideological presentation of Western civilization...............logical to produce a narrative which conforms to its assumptions,functions and ambitions.

It would be more fruitful to interrogate the nature of its narrative to reveal underlying myth.

'Myth,as Roland Barthes famously defined it,....nothing more than depoliticized speech consistent with the classical definition of ideology.

Mythic speech is a set of beliefs,attitudes,utterances,texts and artefacts that are themselves constitutive of social reality.

Paragraph 15

The smooth working of the myth had entailed the smooth working of the colonial system by which the imperial metropolis was successfully separated and insulated from thee people of the colonies. But when the chickens began to come home to roost the outer shell of the myth began to crack.

The myth began to crack after the great war. There was grimness in Britain after the prolonged war. The colonies were lost, opposition in power and half-baked ideas of socialism floated around.

Paragraph 16

Europe after the War was in ruins,facing the anguish of unprecedented human death and suffering.

Europe had to rebuild its cities,no roads paved in gold. The beginning of the demystification of imperial greatness on which the whole colonial apparatus had been built.

Paragraph 17

The colonial administration used both the stick and the carrot.

The emergence of the middle class,schools of western education all this to cater to rebuilding the empire. Appearance of a modern consciousness fundamental to anti-colonial struggles. Many artists of the previously colonized nations were also engaged in anti-colonial struggles of their countries.

The situation not the same everywhere.

There were places where there were no schools and traditional activities were not allowed. with change there was the emergence of self-taught artists.

Paragraph 18

The artist also had the double task of dealing with the prevailing situation:on the one hand with traditional structures(tribal/feudal)..........on the other ,with art institutions that were supposedly modern but were in fact extremely conservative.

Formation of radical progressive groups to bring together talented painters, whose common meeting grounds was that their work stood in stark contrast with the imported and orientalized academicism.

Paragraph 19

In India the debate about what is progressive and what is progress........is still not resolved.

Progress was not about rejection of tradition but re-vitalization in terms of 'modern progress'.Rabindranath Tagore calls it a sign of immaturity to produce something that can be labelled as Indian art.

Paragraph 20

Throughout history artists have travelled from one country to another in search of patronage,quite often ending up in a dominant culture.

Picasso,Brancusi,Mondrian arrived in Paris,which was very much part off this tradition.

Independence form the colonizers removed both physical and psychological constraints.Thereby allowing artists to travel to places where they could find recognition.The paradox here is not of chasing the old colonial masters,but lack of modern institutions in their own countries.

Paragraph 21

However,it would be incorrect to conceive the British society as a monolithic power concerned only with its oppresive imperial functions.

There existed a liberal intelligentsia who were ambivalent towards the 'natives'.Section of British people openly showed sympathy for independence movements.

Paragraph 22

It should be understood that England has been marginal in terms of twentieth-century modern movements,since all the important movements before the War took place on the Continent.

London was never an art centre like Paris.This conciousness of marginality and hope of London developing into an international cultural centre that lead to a section of Brtish society to welcome artists from abroad.

Paragraph 23

The artists faced many difficulties in the beginning,no different from those faced by an artist in a new place or country.

These problems might have been compounded because of Britain's imperialistic past within which racism has been rampart.However it would be a mistake to evoke racist bigotry to understand the position of Afro-Asian artists in Britain.

Paragraph 24

However,one is amazed by the kind of support and response which Afro-Asian artists recieved during their successful period.

Many successful artists emerged during this period.the success of F.N.Souza and Avinash Chandra was phenomenal and made some of the British artists envious.Hardly a critic who did not write about them.

Paragraph 25

However,despite all their success they remained the Other,in the sense that their Otherness was constantly evoked as a part of discussion of their work.

There were critics who tried to deal with the problematics of the Otherness,critically and sympathetically not to exclude them from the discourse of modern art but to raise the issue of other cultural traditions in relation to modernism.

Paragraph 26

Such questions posed are posed by Cuban Wifredo Lam,and the Mexican Rutino Tamayo...And they raised with even greater acuteness by the paintings and drawings of Indian Avinash Chandra......Indian to the same degree and the same way as the art of Picasso and Miro is vividly Spanish.

Through Chandra modern art has recieved an Indian injection just as Nehru made an Indian impact on world ideas.

Paragraph 27

W.G Archer was not the only person who was aware of the problem,and in spite of the success of some of these artists,many people knew that there was something not quite right.

Norbert Lynton had this to say:"a few years ago there appeared a book........purporting to present international art scene of our time,ranged geographically from Poland to Yugoslavia westwards to United States and simply omitted everything east of Belgrade and west of Seattle.'

To ignore contribution of the oriental to modern art is an act of ingratitude.This is seen as defensive act against development which would tend to diminish the glory of sections of western achievement.

Lynton's concern was not specifically oriental art but about Iqbal Geoffrey,who was from Pakistan and a successful artist in Britain.

Paragraph 28

The success of these artists were short-lived so much that by the end of the 60s nobody knew or even wanted to talk about them.

English and white artists dominated the art scene from the 60s and became a part of the history of that period.What of the Afro-Asian artists?

Paragraph 29

The rise and fall of an artist is not an uncommon phenomenon.

Sucess of an artist is a complex phenomenon.Success in the market is not the only criterion but the acceptance and institutional support is necessary in the consolidation of the artist's position and place in history.if the Afro-Asian artists did not recieve the support of the institutions,then why?

Paragraph30

Of course,Souza Chandra...did leave London in second half of the 60s to live in New York,they left only because they were no longer doing well in England.

They were lured by the glamour of New York.And living abroad should not make any difference as David Hockney has lived most of his life in California.Malcom Morley ,who spent little time in Britain during his career was given the turner prize.The explanation must be that they were English.

Paragraph 31

Why were things so different for the Afro-Asian artists?

This new situation in Britain after the War is due to the shift towards America in the 60s.This became detrimental to the status of these artists.

Paragraph 32

Given the fact that Britain had lost the Empire andf its economic power,its new alliance with an emerging imperial power is understandable.

London became an important art centre ,which by the early 60s had direct and close connections with New York,the Mecca of the art world.Without this alliance the emergence of new art in Britain in the 60s is unthinkable.At the same time there emerged a new class of critics,historians and art administrators,whose confidence was formed and enhanced by this change.

Paragraph 33

It is difficult to suggest any direct connection between the situation in Britain and America's use of art in Cold War politics,or any collusion beetween the two in relation to what happened to Afro-Asian artists.

The objective of the post-war American cultural imperialism was not just anti-communism but also assertion of its own cultural hegemony over the world.The enntual dissapearance of Afro-Asian art from the British art scene was not fotuitous,nor can it be explained simply as a result of the emergence of new racism, epitomised by Enoch Powelldemanding the return of new commonwealth people to the countries of their origin.Its no coincidence British art became completely white by the end of the 60s.Subsequently no national or international survey of post – war art in Britain has mentioned or included non-European artists.

But things are changing again,maily as a result of the anti-racist struggle in Britain,and now it is officially recognized that Britain is a multiracial society.

A Collage of Indignation : Max Kozloff

Krishnendu Basu

1124138

Thesis statement - "There is also nothing like such a crisis to cause some of us to rethink the

nature of our role as men involved or concerned with creativity."

Paragraph 1:

Topic sentence - "To write of art and politics in the United States in 1967 is surely to court

futility in context of provocation."

Supporting sentence - "It is the predicament of trying to resolve divergent obligations-

intellectual and moral-which public life in this country is always prying further apart, with

stupefying results."

Predicament.

Paragraph Two:

Topic sentence - "We are in a time when the public that is aware of art assimilates all avant-

grade hypotheses into an apparatus of mild titillation."

Supporting sentence - "It is frightful to consider how insistently the present circumstances

make a mockery of so much of current art's Dadaist presumption to operate within the "gap"

between art and life."

Gap.

Paragraph Three:

Topic sentence - "To the argument that the processes of visual art are metaphorical and ritually

self-contained, whereas individual or collective "action" must be pragmatic and literal, I reply

that we are probably guilty of a failure of imagination."

Supporting sentence - "There is a level on which actions cannot focus or connect without the

inner, intangible guidance of a vision."

Intangible guidance.

Paragraph Four:

Topic sentence - "What makes this condition so paradoxical is that both sides back away from

limitless anxiety, as if from a menace that can be so little controlled that it must be ignored."

Supporting sentences - "There is, as it were, an impoverishment of the heart. The freedom from

anxiety is but the other side of a deeper loss of freedom."

Impoverishment.

Paragraph Five:

Topic sentence - "Such are roughly the prevailing conditions under which we have seen the

conclusion of a remarkable week of manifestations against the war, entitled overall, "The Angry

Arts"(although surely, as many have pointed out, it would be more accurate to say, "angry

artists")."

Supporting sentence - "The distinction between an actual antiwar iconography, and works that

only "stood for" the individual's personal attitude was sometimes waived or muddled, but the

public sympathy for the programs (which were often mobbed) was unequivocal."

Iconography.

Paragraph Six:

Topic sentence - "Not since the WPA thirties has there been any tradition of political activism in

American art."

Supporting sentence - "Leaving aside the motley illustrations of the Neo-Impressionists in the

anarchist press of their time, one thinks of the manifestations of the Surrealists as the only

fierce outcry prior to the depression of a committed group of artists against the status quo-in

work, significantly enough, that was restricted to the nonpictorial."

Manifestations.

Paragraph Seven:

Topic sentence - "I say discordantly because this aesthetic wailing wall, thus convocation of

clichés and cretinisms, which was the 'Collage of Indignation", was alienated and homeless in

style, as it was embattled in content."

Supporting sentence - "Frequently one saw a viciousness that was determined to match what it

was ostensibly exposing."

Viciousness.

Paragraph Eight:

Topic sentence - "The problem was not just that artists who had stripped themselves of

everything but sincerity were still clothed in borrowed rags."

Supporting sentence - "The problem, rather, was in a failure of a quality of mind, or artistic

imagination, which had not solved the rhetorical goal to which the common effort had been

legitimately directed."

Rhetoric goal.

Paragraph Nine:

Topic sentence - "Now I wonder if I have not also been sharing in his illness, or perhaps have

been totally uncomprehending, when I impose, at least in part, aesthetic criteria upon a

phenomenon which may be only nominally art."

Supporting sentence - "If, in their passion and peculiar bravery they can chuck aside all artistic

motivation, a critic can perhaps forgo his own professional scruples."

Artistic motivation.

Paragraph Ten:

Topic sentence - "Looked at from any further perspective, such as that of effecting a spiritual or

material change, the situation becomes very dubious indeed."

Supporting sentence - "By contrast, the indirection and ambivalence of ambitious art

(Rosenquist's chrome-plated barbed wire is an example) is socially formulated because it

is "distanced" by its creator."

Ambitious art.

Paragraph Eleven:

Topic sentence - "It could have been that the absentees (they tend to represent the more

affluent, abstract, better-known practitioners in their field) almost foresaw the subordinate

theme of immolation that ran through "The Angry Arts" and declined to participate, almost out

of a sense of self-preservation."

Supporting sentence - "And it was from this feat of desperate imagination, even though the

thought threatened innumerable artists, that the week of anger produced some of its most

lasting effects."

Desperate imagination.

Paragraph Twelve:

Topic sentence - "No one can measure the impact of such a phenomenon as 'The Angry Arts'."

Supporting sentence - "It dimly perceives how mush art cuts away repressions and stereotypes

in its impulse, not toward power (which governments can at least understand) but toward

psychic freedom.

Repressions and stereotypes.

politics and the intelligentsia by- Noam chomsky

                                                                                                                                       
                                                            Tanya tomar
                                                             1124128
 



                                                                                                                                                              &n bsp;                                                                                                                                                                &nb sp;                                                                                                                                                             
                        
Thesis statement                                                                                                                                                               &nb sp;                                                       

The intelligentsia are the historians, journalists which show a picture of reality to the masses.They do their interpretations to show the reality of an event but sometimes its more bound with special interest. It's easy for us to do the interpretations but make sure that we do not put any impression which appears to be false in any way the reason being that we do not have the analytical thinking like the intelligentsia.The analyses only requires stating facts and arguments with some knowledge added to it.A lot of changes took place in the U.S university whereby the students movement demanded tolerated rate of thinking along with this the student movement had its several impact.It even raised the challenge to the subservience of the universities to the state and other external power. So the essay deals with the analyses and the interpretations made by the intelligentsia



1-  Topic statement-   role of intelligentsia in a society like ours
 Supporting statement-  By virtue of their analyses and interpretations they serve as mediators between social facts and the mass of populations
 Keyword-  "Ideological justification for social practice"


2-  Topic statement-  with a little industry and application anyone who is willing to extricate himself from the system of shared ideology and propaganda will readily see through the modes of distortion developed by the substantial segments of the intelligentsia
Keyword-  "Intellectual change"


3- Topic statement- only intellectuals equipped with special training are capable of such analytical work
 Supporting statement-  One must be careful not to give any impression which maybe false in any point. One should even be careful of not mixing the analyses of social and scientific topic which require special training and technique
Keyword-  "Tutelage of intermediaries"


4- Topic statement-  in the analyses of social and political issues its sufficient to face the facts and to follow a national line of argument
 Supporting statement- The willingness to look at facts with open minds and put up arguments and provide a conclusion is only required no other knowledge is needed after that
Keyword- "Rational line of argument"


5- Topic statement-  it is not impossible to create an intellectually interesting theory dealing with ideology and its social base
Keyword- "Ordinary scepticism and application are sufficient"


6- Topic statement- this is one of the ways in which professional intelligentsia serve a useful and effective function within the apparatus of social control
its very important for the professional to make everyone believe in the existence  of an intellectual frame of reference which they alone possess so that they alone have a right to comment on the affairs
keyword-  "Apparatus of social control"



7- Topic statement-  one of the devices used to achieve this narrowness of perspective is the reliance on professional credentials
Keyword- "System of ideological control- indoctrination"
Keyword- "Depart from orthodoxy will rarely be expressed"




8- Topic statement- here in the United States there is an astonishing degree of ideological uniformity for such a complex country
Supporting statement- Two reasons for this 1-there is remarkable ideological homogeneity of the American intelligentsia in general; who rarely depart from one of the variants of the state capitalistic ideology a fact which itself calls for explanation
2-mass media are capitalist institutions
Keyword- "State capitalist"
Keyword- "Mirror image of the soviet union"




9- Topic statement- is the war succeeding?
Supporting statement- it is notable that inspire of the extensive and well known record of government lies during the period of the Vietnam war , the press with fair consistency remained remarkably obedient and quite willing to accept the governments assumption framework of thinking and interpretation of what was happening
Keyword- "The bombing of Laos is a striking case



10- Topic statement-  The United States is exceptional also in that there is no significant pressure for worker participation in management
 Supporting statement- Let alone real workers control
Keyword- "United states is considerably more rigid and doctrinaire in its political thinking and analyses"



11- Topic statement- you would have had great difficulty in finding a Marxist professor or a socialist in an economics department at a major university
Keyword-"The end of ideology"
Keyword- "Range of ideological diversity"



12- Topic statement- the student left is depicted as a menace threatening freedom of research and teaching
The student movement is said to have placed the freedom of the universities in jeopardy by seeking to impose totalitarian ideological control
Keyword- "Totalitarian ideological control"
Keyword- "Reconstruct the orthodoxy"
Keyword- "The time of troubles"



13- Topic statement- many intellectuals are seeking to reconstruct the orthodoxy and the control over thoughts and inquiry which they had institutionalised with such success and which was infract threatened
Keyword- "Intellectual elite"
Keyword- "Opening in the ideological fields"