This book contributes a transnational feminist intersectional analysis of artwork as a powerful force in world politics and argues that contemporary artwork is a site of knowledge production that provides vital insights for scholars of world politics.
This book contributes a transnational feminist intersectional analysis of artwork as a powerful force in world politics and argues that contemporary artwork is a site of knowledge production that provides vital insights for scholars of world politics.
Produktdetails
Produktdetails
Kilombo: International Relations and Colonial Questions
Emily Hannah Merson is Course Leader and Lecturer for Political Science at York University, Canada. She recieved her Ph.D. degree in Political Science from the Graduate Program in Political Science at York University in June 2015. My commitment to decolonization in my research and teaching emerges from my position as a Canadian settler living and working in my hometown of Toronto, which is located on the lands and waterways of the Mississaugas of the New Credit First Nation and the Anishinaabe and Haudenosaunee peoples.
Inhaltsangabe
Chapter 1. Introduction: Settler Colonial Claims to Sovereignty and Decolonial Contemporary Artwork Chapter 2. Creative Presence: Tracing the Coloniality of Global Power and Decolonial World Politics Through the Materials, Media Forms and Place-Making of Contemporary Artwork Chapter 3. Unsettling International Relations: Decolonizing International Relations Theories of Global Power and Settler Colonial Claims to Exclusive Sovereignty Chapter 4. Decolonizing Settler Colonial Art Institutions: Brian Jungen's Visual Exhibition Methods of Prototypes for New Understanding Chapter 5. Materializing Indigenous Self-Determination: Brian Jungen's Materials and Sculptural Methods in Prototypes for New Understanding Chapter 6. The Scenario of Naming Power: Remembering Traumas of Canadian Settler Colonialism in Rebecca Belmore's filmed performance installation The Named and the Unnamed Chapter 7. International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore's Fountain at the Venice Biennale Chapter 8. Conclusion: Contemporary Artwork and Decolonial Futures of World Politics Works Cited Index
Chapter 1. Introduction: Settler Colonial Claims to Sovereignty and Decolonial Contemporary Artwork Chapter 2. Creative Presence: Tracing the Coloniality of Global Power and Decolonial World Politics Through the Materials, Media Forms and Place-Making of Contemporary Artwork Chapter 3. Unsettling International Relations: Decolonizing International Relations Theories of Global Power and Settler Colonial Claims to Exclusive Sovereignty Chapter 4. Decolonizing Settler Colonial Art Institutions: Brian Jungen's Visual Exhibition Methods of Prototypes for New Understanding Chapter 5. Materializing Indigenous Self-Determination: Brian Jungen's Materials and Sculptural Methods in Prototypes for New Understanding Chapter 6. The Scenario of Naming Power: Remembering Traumas of Canadian Settler Colonialism in Rebecca Belmore's filmed performance installation The Named and the Unnamed Chapter 7. International Art World and Transnational Artwork: Creative Presence in Rebecca Belmore's Fountain at the Venice Biennale Chapter 8. Conclusion: Contemporary Artwork and Decolonial Futures of World Politics Works Cited Index
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