Access your Project MUSE content using one of the login options below Close(X)
Browse Results For:
Art, Activism, and Authenticity in Hawai`i
The famous statue of Kamehameha I in downtown Honolulu is one of the state’s most popular landmarks. Many tourists—and residents—however, are unaware that the statue is a replica; the original, cast in Paris in the 1880s and the first statue in the Islands, stands before the old courthouse in rural Kapa‘au, North Kohala, the legendary birthplace of Kamehameha I. In 1996 conservator Glenn Wharton was sent by public arts administrators to assess the statue’s condition, and what he found startled him: A larger-than-life brass figure painted over in brown, black, and yellow with “white toenails and fingernails and penetrating black eyes with small white brush strokes for highlights. . . . It looked more like a piece of folk art than a nineteenth-century heroic monument.”
The Painted King is Wharton’s account of his efforts to conserve the Kohala Kamehameha statue, but it is also the story of his journey to understand the statue’s meaning for the residents of Kapa‘au. He learns that the townspeople prefer the “more human” (painted) Kamehameha, regaling him with a parade, chants, and leis every Kamehameha Day (June 11). He meets a North Kohala volunteer who decides to paint the statue’s sash after respectfully consulting with kahuna (Hawaiian spiritual leaders) and the statue itself. A veteran of public art conservation, Wharton had never before encountered a community that had developed such a lengthy, personal relationship with a civic monument. Going against the advice of some of his peers and ignoring warnings about “going native,” Wharton decides to involve the people of Kapa‘au in the conservation of their statue and soon finds himself immersed in complex political, social, and cultural considerations, including questions about representations of the Native Hawaiian past: Who should decide what is represented and how? And once a painting or sculpture exists, how should it be conserved?
The Painted King examines professional authority and community involvement while providing a highly engaging and accessible look at “activist conservation” at work, wherever it may be found.
77 color illus.
Philosophy Interpreting Art Interpreting Literature
A provocative examination of the artistic interpretation of twelve of Borges' most famous stories. In Painting Borges, Jorge J. E. Gracia explores in depth the artistic interpretation of fiction using a novel and philosophically sophisticated approach. The book presents a provocative theory of the artistic interpretation of literature, thus contributing both to aesthetics and hermeneutics; it provides original artistic and philosophical interpretations of twelve of Borges's most famous stories, thus making new inroads in to the understanding of Borges's work; and it introduces readers to recent figurative Argentinean and Cuban art, two of the most vibrant artistic currents today. The book breaks new ground because, although the artistic interpretation of literature is nothing new in the history of art, the philosophical exploration of how artists have interpreted literature is a topic that has been largely ignored.
When, Where, Why, and How the South Became Republican
Has the South, once the "Solid South" of the Democratic Party, truly become an unassailable Republican stronghold? If so, when, where, why, and how did this seismic change occur? Moreover, what are the implications for the U.S. body politic?
Painting Dixie Red is the first volume to grapple with these difficult yet critical questions. In this fascinating and timely collection, a distinguished group of scholars engages in an enlightening debate. Some make the case that the South has become Republican, and some contend that it has not. Some outline the region's exceptionalism, and some reject the idea of regional distinctiveness. Some point to white discontent over civil rights as the root of political changes, and some cite color-blind factors. All offer invaluable insights into U.S. politics during these ultra-partisan times.
Heritage of Place
The work of T. C. Steele, William Forsyth, J. Ottis Adams, Otto Stark, and Richard Gruelle, known collectively as the Hoosier Group, established plein air ("in the open air") painting as a major art form in Indiana. The vitality of this style is represented in Painting Indiana III: Heritage of Place which includes 100 juried works by current Indiana plein air artists, along with paintings by the Hoosier Group, all featuring notable Indiana landmarks. This richly illustrated book will delight Hoosiers and art lovers around the world.
Longleaf Pines and Fire Ecology
Fire can be a destructive, deadly element of nature, capable of obliterating forests, destroying homes, and taking lives. Den Latham’s Painting the Landscape with Fire describes this phenomenon but also tells a different story, one that reveals the role of fire ecology in healthy, dynamic forests. Fire is a beneficial element which allows the longleaf forests of America’s Southeast to survive.
In recent decades, foresters and landowners have become intensely aware of the need to “put enough fire on the ground” to preserve longleaf habitat for red-cockaded woodpeckers, quail, wild turkeys, and a host of other plants and animals. Painting the Landscape with Fire is a hands-on-primer for those who want to understand the role of fire in longleaf forests. Latham joins wildlife biologists, foresters, wildfire fighters, and others as they band and translocate endangered birds, survey snake populations, improve wildlife habitat, and conduct prescribed burns on public and private lands.
Painting the Landscape with Fire explores the unique southern biosphere of longleaf forests. Throughout, Latham beautifully tells the story of the resilience of these woodlands and of the resourcefulness of those who work to see them thrive. Fire is destructive in the case of accidents, arson, or poor policy, but with the right precautions and safety measures, it is the glowing life force that these forests need.
Vol. 18 (1996) through current issue
Formerly Performing Arts Journal, through volume 19, no. 3, September 1997 (E-ISSN: 1086-3281, Print ISSN: 0735-8393).
Under continuous editorship since its founding in 1976, PAJ has been an influential voice in the arts for twenty-six years. Now in an updated format and design, PAJ offers extended coverage of the visual arts (such as video, installations, photography, and multimedia performance), in addition to reviews of new works in theatre, dance, film, and opera. Issues include artists' writings, essays, interviews and dialogues, historical documentation, performance texts and plays, reports on performance abroad, and book reviews.
From Islamic Empires to the Taliban
This pioneering study of the evolution of blasphemy laws from the early Islamic empires to the present-day Taliban uncovers the history and questionable motives behind Pakistan’s blasphemy laws and calls for a return to the prophet Muhammad’s peaceful vision of social justice.
Pakistan, which since 9/11 has come to be seen as one of the world's most dangerous places and has been referred to as "the epicenter of international terrorism," faces an acute counterterrorism (CT) challenge. The book focuses on violence being perpetrated against the Pakistani state by Islamist groups and how Pakistan can address these challenges, concentrating not only on military aspects but on the often-ignored political, legal, law enforcement, financial, and technological facets of the challenge.
Edited by Moeed Yusuf of the US Institute of Peace, and featuring the contributions and insights of Pakistani policy practitioners and scholars as well as international specialists with deep expertise in the region, the volume explores the current debate surrounding Pakistan's ability -- and incentives -- to crack down on Islamist terrorism and provides an in-depth examination of the multiple facets of this existential threat confronting the Pakistani state and people.
The book pays special attention to the non-traditional functions of force that are central to Pakistan's ability to subdue militancy but which have not received the deserved attention from the Pakistani state nor from western experts. In particular, the path-breaking volume, the first to explore these various facets holistically, focuses on the weakness of political institutions, the role of policing, criminal justice systems, choking financing for militancy, and regulating the use of media and technology by militants. Military force alone, also examined in this volume, will not solve Pakistan's Islamist challenge. With original insights and attention to detail, the authors provide a roadmap for Western and Pakistani policymakers alike to address the weaknesses in Pakistan's CT strategy.
Winner of the fifth Hollis Summers Poetry Prize, The Palace of Bones by Allison Eir Jenks is an often stark and startling vision of the way we live, the places we inhabit, and the relics we make to comfort ourselves. Haunted by a quiet, unquenchable longing, Jenks expertly and calmly guides the reader through a vivid dreamscape in this first full-length collection of poems. The Palace of Bones was selected by final judge and Pulitzer Prize-winner Carolyn Kizer. At once dark in its vision and light in its tone, this remarkable book is its authorâ€™s self-confident invitation for us to join her in a world she knows intimately and has made almost familiar if not entirely safe. The Palace of Bones is a stunning debut. from Forgive Usâ€” Leaving the crickets whistling like trains, Dragging their broken legs from under the earth. And what people had thought of you, To forget what they think, you must forget Even more. The midnight hands will come To brush the streetâ€™s old breath, the half- Written letters crumpled like white stars, Chips of stone from the deserted church, And if we are there we will watch the hands, Wishing they were large enough to carry Dead dogs from the park, the lost, the hurt, Carry them to the sea where bones still dance. What others say about this book: â€œEuropeans often accuse us of lacking a tragic sense. I commend to them, and to you, Allison Jenks, in all her subtlety and strength.â€? â€”Carolyn Kizer â€œAllison Eir Jenks is an inordinately, almost indecently gifted poet who must be read.â€? â€”Fred Dâ€™Aguiar Allison Eir Jenks is an assistant professor at North Central College in Naperville, where she teaches creative writing. She received her M.F.A. from the University of Miami, where she was a James A. Michener Fellow.