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Counter-primitivisms in Black modernism
Christian Kravagna

, Afro Modern succeeded in giving an impressive account of the visual modernisms in the transcontinental space of Black modernity from the early twentieth century to the present. 1 In one corner of the first exhibition gallery, one could see two small-format works mounted side by side on the wall – a black-and-white photograph of a West African Dan mask and a pastel drawing that clearly depicted the same mask. Both works were dated 1935. The photograph was by the US photographer Walker Evans, the colour drawing

in Transmodern
Abstract only
Social satire in Bernini’s caricatures and comedies
Joris van Gastel

the commedia dell’arte , a comic type of performance characterised by a series of stock figures or masks and a strong element of improvisation. Even though the artist performed mainly during carnival with an amateur crew of students and none of his work was published, his contemporaries took his activities seriously enough to suggest that his performances ‘came so near to those Greek comedies that

in Changing satire
August to October 2020
Rhys Crilley

Trump administration spent money meant for face masks and other PPE on jet engine parts. Aaron Gregg and Yeganeh Torbati, 22 September 2020 Every day, I walk my dog down by the River Clyde that runs through the heart of Glasgow. Just before we reach the river, we pass the high-rise flats of the Glasgow Harbour complex, where the modern towers that rise above us are currently covered in scaffolding and an array

in Unparalleled catastrophe
Open Access (free)
The Second World War and the Balkan Historikerstreit
David Bruce MacDonald

2441Chapter5 16/10/02 8:05 am Page 132 5 Masking the past: the Second World War and the Balkan Historikerstreit A very considerable part of the Croatian political elite, supported by the Catholic hierarchy and Archbishop Alojzije Stepinac himself, supported this national and religious intolerance, and strongly supported policies of clericalism and racism, marked by mass killings, forced conversions and the deportation of the Serbian Orthodox population as well the slaughter of the Jews and Gypsies. (Dušan Bataković, ‘The National Integration of the Serbs

in Balkan holocausts?
T. B L Webster
Bulletin of the John Rylands Library
New interdisciplinary essays
Editor:

Frantz Fanon's Peau noire, masques blancs (Black Skin, White Masks) was published by the Paris-based publishing house Editions du Seuil in 1952 when Fanon was twenty-seven. This book first develops the theme of the francophone contextualisation of Peau noire by concentrating on the specifically Martinican references in the text which have either been effaced or distorted in subsequent representations of Fanon. By retrieving the specific cultural and historical significance attached to particular linguistic items in the text, the book reveals the unconscious traces of a history which Fanon consciously wants to expunge. It is precisely the question of expunging the past. The book argues that Fanon's desire for a violent rupture with the past and a new beginning rules out the possibility of a Creole conception of Caribbean history and culture associated today with the writers. The book also situates Peau noire in the context of racism in metropolitan France and explores different aspects of Fanon's engagement with Sartre in Peau noire. It focuses specifically on the relationship between anti-Semitism and anti-Black racism, and discusses Fanon's engagement with another of Sartre's texts, 'Orphée noir'. The book further discusses Fanon's engagement with Sartre and the tension between universalism and particularism. Finally, it concentrates on studies of the psychic, existential and political dimensions of racial ideology in Peau noire.

Open Access (free)
Justin A. Joyce

Justin A. Joyce introduces the eighth volume of James Baldwin Review with a discussion of the US Supreme Court, the misdirected uproar over Critical Race Theory, a survey of canonical dystopian novels, and the symbolism of masking during COVID-19.

James Baldwin Review
Abstract only
From Francis Bacon To Oz Magazine
David Hopkins

This article discusses how we might formulate an account of William Blake’s avant-garde reception. Having dealt with Peter Bürger’s theorisation of the notion of ‘avant-garde’, it concentrates on a series of portraits, made from Blake’s life mask, by Francis Bacon in 1955. This ‘high art’ response to the Romantic poet is then contrasted with a series of ‘subcultural’ responses made from within the British counterculture of the 1960s. Case studies are presented from the alternative magazine production of the period (notably an illustration from Oz magazine in which Blake’s imagery is conflated with that of Max Ernst). An article by David Widgery in Oz on Adrian Mitchell’s play Tyger (1971) is also discussed to show how the scholarly literature on Blake of the period (mainly David Erdman) was called on by the counterculture to comment on political issues (e.g. Enoch Powell’s 1968 ‘Rivers of Blood’ speech). The final section of the article shows how the ‘avant-gardism’ of Oz’s utilisation of Blake might be counterposed to the more activist left-wing approach to the poet in small magazines such as King Mob with their links to French situationism. In terms of the classic avant-garde call for a reintegration of art and life-praxis, such gestures testify to a moment in the 1960s when Blake may be considered fully ‘avant-garde’.

Bulletin of the John Rylands Library
Lessons from the MSF Listen Experience
Jake Leyland
,
Sandrine Tiller
, and
Budhaditya Bhattacharya

undertaken in September 2021, and again through preliminary results of an independent evaluation of the platform carried out in January / February 2023. An example from Somalia about mask adherence during COVID-19 illustrates this well. A pervasive refusal to wear a mask in a specific region of northern Somalia close to an MSF clinic was – somewhat lazily – attributed to the notion that the community just thought masks were ineffective. Yet via an interdisciplinary process

Journal of Humanitarian Affairs
Olivia Umurerwa Rutazibwa

) humanitarian research agendas. I became cognisant of the limited efforts to understand how good intentions coexist with a system of international aid and intervention that seems harmful not for the few but for the many. The silence of too many researchers simultaneously masks and normalises the harmful consequences of the aid system. The scholarship and advice I was exposed to as my early academic career developed prompted me to explore the contradictory logic of international aid empirically: I set out to make a database of the EU’s ‘ethical’ behaviour

Journal of Humanitarian Affairs