Resistant Art and Censorship in Africa

Negash, Girma

doi:10.1080/10402650307607

Cited by 4 publications

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“…This statement establishes the relationship between the challenging contextual structure and hope as a present desire for a better future, on the one hand, and as an expected change they take part in making in the future (Leshem and Halperin, 2020). Self-censorship mirrors the power to act in order to guarantee survival in the field (Negash, 2003), hoping to persist and leaving the door open for a different possible future.…”

Section: Contextual Distribution Of Hopementioning

confidence: 99%

Hope and Creative Work in Conflict Zones: Theoretical Insights from Israel

Jamal

Lavie

2021

Sociology

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This article contributes to the theorization of hope in the cultural industries in conflict zones. Although the merits of hope in explicating the behavior of creative workers in cultural production in western countries has won some attention, the literature has fallen short of addressing the impact of conflict on the meaning of hope for minority creative workers in this field. To fill this lacuna, we explore the experience of Palestinian creative workers in Israeli cultural industries, which are very functional in national identity making and branding. Our evidence is helpful in illuminating the temporal dimension of hope, as a resource and a form of passive action that takes place in the present in order to keep the horizon open for a better future, also when this future does not entail a clear referent. It also sheds light on the affinity of hope with ethical agency claiming in the cultural industries.

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Section: Contextual Distribution Of Hopementioning

confidence: 99%

Hope and Creative Work in Conflict Zones: Theoretical Insights from Israel

Jamal

Lavie

2021

Sociology

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Why Culture?

Kappler¹

2014

Local Agency and Peacebuilding

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Art Invoked: A Mode of Understanding and Shaping the Political

Negash

2004

International Political Science Review

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There are several reasons why the arts, in all their forms and productions, provide a site from where we can observe and experience aspects of political life that we cannot possibly do in any other way. First, art takes account of the intentions, motivations, and reasons for human action. Second, art is a privileged medium in the sense that it imparts knowledge about political life at both the abstract level and at a deeper cultural level. Third, literary and other texts provide the site for political discourse because they are influenced by historical circumstances both temporally and spatially. Lastly, we seek the perspectives of art in informing politics because of the innovative role played by intellectuals and artists and their influence in the making of shared meanings. While this investigation is primarily theoretical, it will be informed by the novels of Biyi Bandele and the films of Gaston Kaboré.

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Resistant Art and Censorship in Africa

Cited by 4 publications

References 0 publications

Hope and Creative Work in Conflict Zones: Theoretical Insights from Israel

Hope and Creative Work in Conflict Zones: Theoretical Insights from Israel

Why Culture?

Art Invoked: A Mode of Understanding and Shaping the Political

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