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The author reviews the 2021 production of James Baldwin’s play, The Amen Corner, as directed by Whitney White at Shakespeare Theatre Company in Washington, DC. After situating the experience of engaging with Baldwin’s art through a constructivist approach to art-based education and learning design, the piece turns to considering the impact of various interpretive materials and the director’s artistic vision in the production. White’s decision to include an epigraph in the production leaves a notable impact, particularly in conversation with Baldwin’s essays, “Why I Stopped Hating Shakespeare” and “The Artist’s Struggle for Integrity.”
retains a distinctly conventional edge. It is, after all, dubbed conventional constructivism for a reason. States remain Wendt’s key actors. The ‘reality’ of anarchy is not contended. Where ideas and identities enter the equation, they do so as new variables to remedy and complete otherwise partial realist and liberal formulations. This understanding of cultural factors remains well inside the high walls of rationalist and positivist theorising and epistemology. Consider Peter Katzenstein’s famous conventional constructivist contribution: German foreign policy is the
system capable of both compositionality and decompositionality (within the constructivist metaphor). A third paradigm can be distinguished as well: gameplay as an expressive process. This third paradigm has affinities with constructivism, but differs from it in considering the referential functions of media as potential impediments to aesthetic experience. The complexities of prose and the unconventional stylistics of poetry are conventionally understood as a necessary means to convey complex meanings. These are not always equally understood as
coldwave for their detached machine-like rhythm sections and dark introspection. This fascinating melange of styles – the click-clack of the cheap drum machines and the treated guitars on top defines one of the great undiscovered localised scenes in the period. They also recalled the historical left-bank artistic staples of Futurism, Symbolism, Constructivism, Dadaism, and Socialist Realism. This was pushed through the DIY principles of punk rock with a nod to French New Wave and German expressionist filmmakers in feel and style
[…] until Peter Greenaway, Derek Jarman and other film-makers emerged in the 1980s.’ 2 During the 1920s, the French, German and Soviet cinemas produced films which formed part of the broader artistic culture of European modernism and had direct links to movements such as expressionism, Dada, surrealism and constructivism. These films are now acknowledged as canonical in the history of art cinema and principal constituents of what Andrew Tudor has called ‘the period of “formation” during which the very status of cinema as art was a central focus for struggle’. 3 In
, zombies will always be a hot-button political topic; but do they have to be a security concern? After all, for Michonne at least, zombies can be a source of security. Perhaps, however, it is constructivism that is of most interest to us for our purposes here. In particular, the potential for norm cascade presents an alarming possibility that, in lieu of a functioning rule of law, humans may well take on zombie traits, engaging in cannibalism and grotesque violence (or merely dressing up and walking like zombies). This range of behaviours – from the grotesque to the
Trump’s America. Fictional television and American politics The disciplines charged with studying world politics are dynamic. Now, in contrast to previous realist hegemonies, a majority of IR scholars self-identify as constructivist. It is hard not to, since the central mantra – that ideas matter – seems so plainly obvious. Within approaches taking seriously the impact of ideas, however, there is still much contestation. Since Onuf’s seminal work, introducing a particularly linguistic constructivism, as well as Wendt’s powerful but limited insights, Politics and
attracted to the artworks of the European modernists, principally, those associated with Constructivism, Futurism, Vorticism, and Cubism. Lye’s engagement with surrealism emerged later and would become relevant to his work throughout the 1930s. His interest in tribal art and cultures, and the instinctual creativity of the body, intensified after he read more widely on aspects of comparative Suspended animation13 mythology, dance rituals, and fertility symbolism– reading Freud’s Totem and Taboo (1913) was a particularly illuminating experience for him. In 1922, he
/decoding’ and contends that there is a ‘preferred meaning’ that the writers and producers ‘encode’ into televisual texts, but they are ‘decoded’ in ways that are sometimes oppositional to those preferred readings ( 2006 : 35). Televisual texts are polysemous – having many possible meanings and readings – and for Nannicelli ( 2017 ), this is a problem because of what he dubs ‘ontological constructivism’ – which Hills describes as texts taking on ‘a heterogeneous range of different meanings for different audiences’ ( 2018 : 172
-capitalism, and antifascism, especially in historical and (failed) utopian avant-garde movements of Russian constructivism and suprematism. SNST critiqued the use of nationalist rhetoric and policies to uphold state power; many in the alternative art scene thought that the Yugoslav state had hijacked the utopian possibilities of socialism and corrupted them with authoritarian control. Resisting the official cultural program of the state, SNST returned to the promises of socialism as enacted through retrogardism: “The group's ultimate task was thus to adjust the existing