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Representations of Marseille
Joseph McGonagle

over one hundred underscores the ethnic diversity of Marseille’s population. It scarcely seems surprising, therefore, that Marseille continues to be portrayed as a Mediterranean melting-pot within France. It is often constructed as a uniquely hybrid and harmonious space too (Weill 2003: 6) and a common cliché allied to this image is the recurrent anecdote that, whenever asked where their affiliations lie, the city’s dwellers reply: ‘A Marseille, on est d’abord marseillais’ (Croissandeau 2001: 14) (In Marseille, we’re Marseillais first). Or even, to cite the lyrics of

in Representing ethnicity in contemporary French visual culture
Anne Ring Petersen

space of the Sahara. The second part of the chapter focuses on the migrants’ perilous journey from the coast of Africa across the Mediterranean Sea to the shores of Europe as it has been evoked in the British artist and filmmaker Isaac Julien’s video installation Western Union: Small Boats (2007). This part of the chapter considers issues of European border politics and securitisation, along with their consequences for forced migrants. Both works illustrate some affinity with the current in contemporary art that Veronica Tello has called counter-memorial aesthetics

in Migration into art
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Anne Ring Petersen

that address the problematics of clandestine migration from Africa across the Mediterranean Sea to Europe. The chapter also extended the discussion of the  invariably politicised, artistic representation of unwanted immigrants to the overall issue of the relations between aesthetics and politics. It addressed the  question of how the aesthetic and affective qualities and the visual ‘organisational power’ (Demos) of artworks can encourage, in responsive viewers, the kind of empathic perception that can trigger the ‘empathic unsettlement’ (Bennett) needed to stimulate

in Migration into art
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

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Joseph McGonagle

particularly intriguing. This book probes some of the diverse ways in which different ethnicities have been represented across contemporary French visual culture. As Cole (2005: 201) has argued, France is well placed geographically. By sharing a land border with six European countries and being connected to England by an undersea channel, it can plausibly claim to be at the crossroads of Europe. Directly across the Mediterranean lie three Maghrebi countries it formerly ruled and it still possesses overseas territories in the Caribbean, South America and in the Indian and

in Representing ethnicity in contemporary French visual culture
Allison Myers

difficulty in discussing Supports/Surfaces is the extent to which the collective name elides the fractured nature of the group’s identity. In pictorial, political and even geographical terms, Supports/Surfaces was not a cohesive movement. The group began in the mid-1960s as a loosely knit community of friends connected to art schools and communities along the Mediterranean coast in cities such as Montpellier and Nice, as well as in Paris.6 Varied and diverse, the artists’ practices coalesced around the shared desire to revitalise the tradition of abstract painting as an

in Art, Global Maoism and the Chinese Cultural Revolution
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Chris Abel

, sticking to the Vitruvian tradition, in ‘Body, Diagram, and Geometry in the Renaissance Fortress,’ Simon Pepper19 suggests that the image of the human body was a major factor in shaping the plans of military structures and settlements, which he illustrates with examples of fortifications throughout the Mediterranean and references to the texts of their designers. Juhani Pallasmaa20 also makes the case that modern architecture has been dominated by the visual sense at the expense of other sensory and bodily experiences, particularly the tactile sense, but additionally the

in The extended self
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J.W.M. Hichberger

Constantinople had been the sparking point, and France and Britain intervened in support of Turkey. Their motives differed. In the case of France, the new emperor, Louis Napoleon, was eager to bolster his regime by military glory in emulation of his namesake. The British were motivated partly by the desire to frustrate Russian expansion in the eastern Mediterranean. The immense enthusiasm for the war suggests

in Images of the army
Willard Bohn

is a slight breeze, it is not enough to alleviate the oppressive heat and humidity. Since the climate is normally hot and dry, a new front must be passing through the area. Whatever the explanation, it produces a curious atmospheric effect in the eastern Mediterranean, where the clouds are spread out like jam on a slice of toast. Crali compares them to layers of mica, which suggests they are long, flat and thin. In general, the composition’s visual effects are fairly rudimentary. In addition to three visual analogies, it contains several elementary typographical

in Back to the Futurists
Open Access (free)
Tania Anne Woloshyn

accounted for earlier puberty in young girls, especially among Arabic and black African women. 86 Heliotherapists on the Mediterranean coast made specific note of this, and not simply to the climate’s heat but to its luminosity as responsible for early menstruation and thus early sexual maturity: On the Mediterranean coast and in particular on the Riviera, menstruation

in Soaking up the rays