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An Introduction To Splines For Use In Computer Graphics And Geometric Modeling

Read for free online: a comprehensive overview and critical assessment of Pierre Bourdieu's contributions to literary theory and his thinking about authors and literary works.

Bourdieu and Literature

In the summer of 1927, an African American named Broadus Miller was accused of killing a fifteen-year-old white millworker in Morganton, North Carolina. Following a manhunt lasting nearly two weeks, Miller was killed and his body then publicly displayed on the Morganton courthouse lawn. This dissertation uses Broadus Miller’s personal history as a narrative thread to examine the world within which he lived and died. Miller’s story exemplifies much larger patterns and provides a unique lens on race relations and criminal justice in early twentieth-century North and South Carolina. In Miller’s native South Carolina, white supremacy was maintained through lynching, but violence permeated all forms of human interaction and most homicides featured same-race perpetrators and victims. In the early 1920s, Miller spent three years in the South Carolina state penitentiary after killing an African American woman. The court process in his case illustrates the role of race within the South Carolina legal and judicial systems, while examining conditions in the penitentiary during his incarceration demonstrates that rather than serving any rehabilitative function, the penitentiary was a highly lucrative enterprise designed to benefit penal officials. Following Miller’s release from prison, he embarked upon the same journey as thousands of other black South Carolinians in the early 1920s, when the boll weevil ravaged the state’s cotton fields and precipitated a mass outmigration of farm laborers. Like Miller, many of these migrants moved to North Carolina, where they faced a hostile and unwelcoming environment in which the Ku Klux Klan and other nativist groups flourished. By the 1920s white supremacist violence in North Carolina was largely masked by formal law. A unique feature of North Carolina law was the state’s outlawry statute, which was used against Broadus Miller and which gave private citizens the legal authority to kill him. The statute’s origins and application cast a stark light on the nature of state-sanctioned violence. The killing of Miller and exhibition of his dead body took place on the borderline between lynching and state-sanctioned execution—and showed how indefinite that borderline was. INDEX WORDS: Homicide, Lynching, Outlawry, Racism, South Carolina, North Carolina, Asheville, Morganton, Greenwood County, Ku Klux Klan, Boll weevil, Julian Shakespeare Carr, Chain gang, Penitentiary, Junior Order United American Mechanics, Samuel McDowell Tate, Beatrice Cobb, Henry Berry Lowry THE WORLD OF BROADUS MILLER: HOMICIDE, LYNCHING, AND OUTLAWRY IN EARLY TWENTIETH-CENTURY NORTH AND SOUTH CAROLINA

The world of Broadus Miller: homicide, lynching, and outlawry in early twentieth-century North and South Carolina

The Ownership of Knowledge in Higher Education in Australia 1939-1996

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New Zealand Media Constructions of Islam and Muslims: An Analysis of Selected Newspapers Between 2005- 2006

When Pierre Bourdieu died onJanuary 23, a torrent of tributes, commentaries, and memories flooded the French media. Le Monde stopped the presses to make his demise the lead story. Although he had been a severe critic of their policies, the prime minister, Lionel Jospin, and President Jacques Chirac both considered it politic to pay homage. The Centre Georges Pompidou held a public tribute. The New York Times carried an obituary on page 41. Most readers had probably never heard of this "French Thinker and Globalization Critic." In spite of Bourdieu's numerous studies of the world of visual culture and the special interest of October in French-inspired discourse, he did not rank among those Parisians frequently credited in this journal's footnotes. In English-speaking countries Bourdieu had, in fact, a relatively minimal presence outside of certain sociology departments. The more recent import of French intellectual fare was dominated by other names: Lacan, Foucault, Derrida, Kristeva, Deleuze. For a while even Jean Baudrillard held a sizable market share, particularly in the art and advertising industry (for years his name graced the masthead of Artforum). It would be a fascinating research project-in the tradition of Homo Academicus (Bourdieu's study of his own academic milieu, published in 1984)-to explore the forces behind the relatively tepid reception of his investigations in the "field" of cultural production in comparison to the extensive following enjoyed by his French peers outre-mer. This aloofness vis-a-vis a fellow critical intellectual is particularly surprising in light of the International Sociological Association's listing Bourdieu's Distinction: A Social Critique of the Judgement of Taste (1979) among the ten most important works of sociology of the twentieth century. When the Centre Georges Pompidou asked me to contribute to its "Hommage 'a Pierre Bourdieu," I posed the following rhetorical question: What does it mean that the Pompidou is holding this tribute? Had he not laid bare the often unacknowledged role played by the enormous "symbolic capital" held by institutions such as this one, with which they-like other educational, religious, and cultural institutions that are shaping our respective "habitus"-commit what he termed "symbolic violence?" Had he not assailed them for surrendering a large part of that capital to the public-relations apparatuses of corporations and

A Public Servant

Haacke: No, there's another precedent, aside from the paintings I did before I turned to three-dimensional work in the early '60s. For a show in Montreal in 1983, I made what I called a Painting for the Boardroom, an industrial landscape. It is a somewhat impressionistic aerial view of the Alcan aluminum smelter in Arvida, Quebec. I painted it after a photograph that I found in an Alcan P.R. pamphlet. It is a cheerful, sunny picture. Into the bright sky I painted a short caption which announces, in a tone of pride, that the workers at Arvida have an opportunity to contract bone fibrosis, respiratory diseases, and cancer. The painting is framed in aluminum siding. Obviously, in all three cases, I chose to paint because the medium as such has a particular meaning. It is almost synonymous with what is popularly viewed as Art art with a capital A--with all the glory, the piety, and the authority that it commands. Since politicians and businesses alike present themselves to the folks as if they were surrounded by halos, there are similarities between the medium and my subjects. When I planned the Reagan painting, I was also inspired by the thinking of Marcel Broodthaers. In the catalogue preface to his Musie d'art moderne, Dipartment des aigles, Section des figures (1972), he pointed to the parallelism between the mythic powers of the eagle, the symbol of empire, and the mythic powers of art. Contrary to popular belief, eagles are really not courageous birds; they are

A Conversation with Hans Haacke

Every fall since 1968, a cultural festival known as the Styrian Autumn has been held in Graz, the capital of the Austrian province of Styria. The festival presents concerts, theater, and opera productions, film showings, symposia by writers, and art exhibitions. Although constituted as an independent organization, its director is chosen by a board on which representatives of the provincial and the city government play an important role. In 1988, the board was chaired by Professor Kurt Jungwirth, the deputy governor of Styria and a prominent member of the conservative party (OVP). Graz was represented by its social democratic mayor, Alfred Stingl (SPO), and its commissioner of culture Helmut Strobl (OVP). The festival is funded by the province, the city of Graz, and the Austrian government. Dr. Peter Vujica, the director of the Styrian Autumn in 1988, chose for the twentieth anniversary of the festival the motto "Guilt and Innocence of Art" and suggested that reference be made to Hitler's annexation of Austria in 1938. The Anschluss was the theme of a number of public events in Austria in the year of its fiftieth anniversary. Inevitably, the enthusiastic welcome Hitler received when his troops marched into Austria became the subject of agitated public debate. That debate was further fuelled by the controversy surrounding the role the recently elected Austrian president, Kurt Waldheim, had played as a Wehrmacht officer in the Balkans during World War II. Dr. Vujica commissioned Dr. Werner Fenz, the curator of the city's Neue Galerie, to organize the visual arts section for 1988. Dr. Fenz invited artists from various countries to produce works for temporary installation in selected public places in Graz. He chose as Points of Reference 381/88 locations that had played a significant role during the Nazi regime, such as the police/Gestapo headquarters, city hall, squares where Nazi rallies had been held, the Hitler Youth headquarters, the bishop's palace, and so forth. One of the city's older monuments, the Marienstiule (Column of the Virgin Mary), rises in a square at the south end of Herrengasse, the most prominent street of Graz. A fluted column on a massive base, crowned by a gilded statue of the Virgin on a crescent moon, it was erected late in the seventeenth century to

Hans Haacke

Papers

A Public Servant

A Conversation with Hans Haacke

Und ihr habt doch gesiegt, 1988