Three very simple examples can illustrate these forms of power. Indeed, much of his work on power is devoted to the task of articulating the emergence of later modes of power from earlier ones, and his analyses of disciplinary power in particular have been especially useful for subsequent scholars. such as the closely related modes he termed “disciplinary power” and “biopower”, and earlier, premodern forms such as “sovereign power”. Hence, he identifies modern forms of power. The first level is constituted by a detailed examination of historically specific modes of power and how these modes emerged out of earlier forms.
Foucault's analyses of power are simultaneously articulated at two levels, the empirical and the theoretical.
Read moreĪn important step in understanding Foucault's broader projects is to understand his view of power. Keynes went as far as denying that the market system is self-adjusting, whereas Hayek, especially in his later writings, propounded the view that markets constitute an efficient mechanism for the satisfaction of human needs. The crucial question is how it came about that Hayek and Keynes, who for some time studied very similar monetary problems, ended as such fierce opponents on the question of how a modern capitalist system works. aspects will be taken into consideration in this contribution with the aim of extending our knowledge of the fundamental points of disagreement between them. In the assessments little attention has been paid to the development of the ideas of the two economists, to the views they had in common and to the influence they had on each other. The controversy between Hayek and Keynes in the 1930s is probably one of the best-known disputes in economics and several comments have been made on this episode (Hicks, 1967 Machlup, 1977 Fletcher, 1987).
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Such approaches may be classified, broadly, as Kantian, without their being, however, an adequate application of the full range of Kant's thought. What both the formalist and the linguistic approaches have in common is the idea that Cubism is art about art, and that it was one of the earliest instances in which the relation of art to other art and to the autonomous conditions of art was both manifest and sovereign. This essentially formalist view has now been supplemented, but not displaced, by what might be called a linguistic or semiological position, whereby Cubism becomes the first, pioneering exemplar of a “modernist” play of signs, which refer not to the exterior world but to other signs and to other works of art. One is that Cubism was the cornerstone of twentieth-century art because it broke with past tradition definitively established “modernist” flatness, opticality, and involvement with the medium of art and thus sanctioned a new tradition that would lead to nonobjective art as well as to assemblage and to other “modernist” principles and practices. Yet only a narrow range of views regarding precisely how an overall interpretation of Cubism may relate to the art of the last hundred years has emerged. The interpretation of Cubism has a great bearing on the understanding of modernism, and the understanding of modernism plays in turn a central role in most of twentieth-century art to this day. The paper therefore concludes that found object art is culturespecific and defined by unique cultural ramifications, thus, to fully understand the dynamism of this art genre, a culture-specific or localized reading is required because the context of its emergence in Europe stands in contradiction to its conceptualism in contemporary African art-space. Findings demonstrate that European and African appropriation of discarded objects in art differs according to societal context in form and content.
Using a triangulation of Formalism, Iconography and Interviews as methodologies, this paper subjects the works of El Anatsui, Delumprizulike, Nnena Okore, Bright Eke, Olu Amonda and others to formalistic and interpretative analysis to establish the postcolonial context of the found object in contemporary African art. This paper aims to prove that the dominant contemporary discourse of „Recyla Art‟ which many African sculptors have been absorbed into, problematically blurs the conceptual and ideological differences in European and African exploration of discarded objects in art creation. However, Found Object discourse institutionalized in European art history is exclusively western and dismisses those of other cultures as mimesis and time-lag. Arguably Found Object genre represents the most dominant form of contemporary artistic expression with unlimited possibilities of material exploration and conceptual ideation.
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