This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe’s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists’ strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period.

It is argued that the conception of social science emerging today is one that involves a synthesis of radical constructivism and critical realism. The crucial challenge facing social science is a question of its public role: growing reflexivity in society has implications for the social production of knowledge and is bringing into question the separation of expert systems from other forms of knowledge.

Moving west--from Singapore to America, from New York to California--a woman examines the myth of "finding home" even as she comes to terms with its impossibilities.ibilities.

This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ

Bringing to bear a wealth of literature from curriculum theory, Didaktik, philosophy of education and teacher education, this book broadens and enriches the conversation initiated by Michael Young and his colleagues on 'bringing knowledge back in' (Young, 2007). Knowledge, Content, Curriculum and Didaktik is distinctive in providing a comprehensive and multifaceted analysis of the role of knowledge, and in particular curriculum content, in relation to curriculum policy, curriculum planning and classroom teaching. It makes a case for linking knowledge and content to the development of human powers or capabilities needed for the 21st century and unpacks the challenges for curriculum policy, curriculum planning and classroom teaching. The book discusses, among other issues: Educational aims and theories of knowledge School subjects and academic disciplines: differences and relationships School subjects and theories of content Understanding the content for teaching The book will be relevant for scholars, researchers, policy makers and curriculum developers who seek a more sophisticated, more balanced and philosophically better grounded understanding of the role of knowledge and content in education and curriculum.

From the ruins of communism, Boris Groys emerges to provoke our interest in the aesthetic goals pursued with such catastrophic consequences by its founders. Interpreting totalitarian art and literature in the context of cultural history, this brilliant essay likens totalitarian aims to the modernists’ goal of producing world-transformative art. In this new edition, Groys revisits the debate that the book has stimulated since its first publication.