jelena subotic (112 risultati)

Condizione: Good. paperback 100% of proceeds go to charity! Good condition with all pages in tact. Item shows signs of use and may have cosmetic defects.

paperback. Condizione: Near Fine. Excellent, unmarked copy with little wear and tight binding. We ship in recyclable American-made mailers. 100% money-back guarantee on all orders.

Condizione: very_good.

hardcover. Condizione: Very Good. Very Good. Gently used with NO markings in text; binding is tight. Pasadena's finest independent new and used bookstore since 1992.

Hardcover. Condizione: Very Good. No Jacket. Former library book; May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condizione: very_good. This is a well-cared-for used book with light signs of previous use. There may be minor cover wear, a faint crease, or slight spine wear, but overall it's in great shape and fully readable.Please note:-May contain library or rental stickers.-Supplemental materials e.g., CDs, access codes, inserts are not guaranteed.-Box sets may not include original exterior box.-Sourced from donation centers; authenticity not verified with publisher. Your satisfaction is our top priority! If you have any questions or concerns about your order, please don't hesitate to reach out. Thank you for shopping with us and supporting small businessâ"happy reading!

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Hardback or Cased Book. Condizione: New. Yellow Star, Red Star: Holocaust Remembrance After Communism. Book.

Paperback. Condizione: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: Used: Very Good. Near fine.

Condizione: New.

Condizione: New.

Hardback. Condizione: New. An illuminating exploration of the relationship between the restitution of looted art, global status, and the international construction of national cultural heritage.Why is art restitution a matter of politics? How does the artwork displayed in national museums reflect the international status of the state that owns it? Why do some states agree to return looted art and others resist? National art collections have long been a way for states to compete with each other for status, prestige, and cultural worth in international society. In many former imperial nations, however, these collections include art looted during imperial expansions and colonial occupations. While this was once a sign of high international standing, the markers of such status, particularly in the context of art, have since significantly changed. A new international legal and normative architecture governing art provenance developed after World War II and became institutionalized in the 1990s and 2000s. Since then, there have been national and global social movements demanding the return of looted art. This shift has established not only that looting is wrong but, more importantly, that restitution is morally right. As a result of this reframing of what it means to own art, an artifact's historical provenance has become a core element of its value and the search for provenance and demands for restitution a direct threat to state status. The same objects that granted states high international status now threaten to provoke status decline. In The Art of Status, Jelena Subotic examines this relationship between the restitution of looted art and international status, with a focus on the Parthenon ('Elgin') Marbles, the Benin Bronzes, and a collection of paintings looted during the Holocaust that are now housed at the Serbian National Museum. Subotic tells the story of these artworks, how they were looted, how they ended up on display in national museums, and how the art restitution disputes have unfolded. While these cases are different in terms of their historical context of looting and ownership claims, the movements for their restitution, and resistance to it, illustrate the larger questions of how national cultural heritage is internationally constructed and how it serves states' desire for international status and prestige. An in-depth and nuanced account of art restitution disputes, The Art of Status illuminates the shifting political significance of art on the international stage, from ownership to restitution.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

Hardback. Condizione: New. Yellow Star, Red Star asks why Holocaust memory continues to be so deeply troubled-ignored, appropriated, and obfuscated-throughout Eastern Europe, even though it was in those lands that most of the extermination campaign occurred. As part of accession to the European Union, Jelena Subotic shows, East European states were required to adopt, participate in, and contribute to the established Western narrative of the Holocaust. This requirement created anxiety and resentment in post-communist states: Holocaust memory replaced communist terror as the dominant narrative in Eastern Europe, focusing instead on predominantly Jewish suffering in World War II. Influencing the European Union's own memory politics and legislation in the process, post-communist states have attempted to reconcile these two memories by pursuing new strategies of Holocaust remembrance. The memory, symbols, and imagery of the Holocaust have been appropriated to represent crimes of communism. Yellow Star, Red Star presents in-depth accounts of Holocaust remembrance practices in Serbia, Croatia, and Lithuania, and extends the discussion to other East European states. The book demonstrates how countries of the region used Holocaust remembrance as a political strategy to resolve their contemporary "ontological insecurities"-insecurities about their identities, about their international status, and about their relationships with other international actors. As Subotic concludes, Holocaust memory in Eastern Europe has never been about the Holocaust or about the desire to remember the past, whether during communism or in its aftermath. Rather, it has been about managing national identities in a precarious and uncertain world.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New.

Hardcover. Condizione: new. Hardcover. An illuminating exploration of the relationship between the restitution of looted art, global status, and the international construction of national cultural heritage.Why is art restitution a matter of politics? How does the artwork displayed in national museums reflect the international status of the state that owns it? Why do some states agree to return looted art and others resist? National artcollections have long been a way for states to compete with each other for status, prestige, and cultural worth in international society. In many former imperial nations, however, these collections include art looted duringimperial expansions and colonial occupations. While this was once a sign of high international standing, the markers of such status, particularly in the context of art, have since significantly changed. A new international legal and normative architecture governing art provenance developed after World War II and became institutionalized in the 1990s and 2000s. Since then, there have been national and global social movements demanding the return of looted art. This shift has established not onlythat looting is wrong but, more importantly, that restitution is morally right. As a result of this reframing of what it means to own art, an artifact's historical provenance has become a core elementof its value and the search for provenance and demands for restitution a direct threat to state status. The same objects that granted states high international status now threaten to provoke status decline. In The Art of Status, Jelena Subotic examines this relationship between the restitution of looted art and international status, with a focus on the Parthenon ('Elgin') Marbles, the Benin Bronzes, and a collection of paintings looted during theHolocaust that are now housed at the Serbian National Museum. Subotic tells the story of these artworks, how they were looted, how they ended up on display in national museums, and how the art restitution disputeshave unfolded. While these cases are different in terms of their historical context of looting and ownership claims, the movements for their restitution, and resistance to it, illustrate the larger questions of how national cultural heritage is internationally constructed and how it serves states' desire for international status and prestige. An in-depth and nuanced account of art restitution disputes, The Art of Status illuminates the shifting politicalsignificance of art on the international stage, from ownership to restitution. An illuminating exploration of the relationship between the restitution of looted art, global status, and the international construction of national cultural heritage. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condizione: New. An illuminating exploration of the relationship between the restitution of looted art, global status, and the international construction of national cultural heritage.Why is art restitution a matter of politics? How does the artwork displayed in national museums reflect the international status of the state that owns it? Why do some states agree to return looted art and others resist? National art collections have long been a way for states to compete with each other for status, prestige, and cultural worth in international society. In many former imperial nations, however, these collections include art looted during imperial expansions and colonial occupations. While this was once a sign of high international standing, the markers of such status, particularly in the context of art, have since significantly changed. A new international legal and normative architecture governing art provenance developed after World War II and became institutionalized in the 1990s and 2000s. Since then, there have been national and global social movements demanding the return of looted art. This shift has established not only that looting is wrong but, more importantly, that restitution is morally right. As a result of this reframing of what it means to own art, an artifact's historical provenance has become a core element of its value and the search for provenance and demands for restitution a direct threat to state status. The same objects that granted states high international status now threaten to provoke status decline. In The Art of Status, Jelena Subotic examines this relationship between the restitution of looted art and international status, with a focus on the Parthenon ('Elgin') Marbles, the Benin Bronzes, and a collection of paintings looted during the Holocaust that are now housed at the Serbian National Museum. Subotic tells the story of these artworks, how they were looted, how they ended up on display in national museums, and how the art restitution disputes have unfolded. While these cases are different in terms of their historical context of looting and ownership claims, the movements for their restitution, and resistance to it, illustrate the larger questions of how national cultural heritage is internationally constructed and how it serves states' desire for international status and prestige. An in-depth and nuanced account of art restitution disputes, The Art of Status illuminates the shifting political significance of art on the international stage, from ownership to restitution.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: new.

Paperback or Softback. Condizione: New. Hijacked Justice: Dealing with the Past in the Balkans. Book.

Condizione: New. In.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: New. Politics, Violence, Memory highlights important new social scientific research on the Holocaust and initiates the integration of the Holocaust into mainstream social scientific research in a way that will be useful both for social scientists and historians. Until recently social scientists largely ignored the Holocaust despite the centrality of these tragic events to many of their own concepts and theories. In Politics, Violence, Memory the editors bring together contributions to understanding the Holocaust from a variety of disciplines, including political science, sociology, demography, and public health. The chapters examine the sources and measurement of antisemitism; explanations for collaboration, rescue, and survival; competing accounts of neighbor-on-neighbor violence; and the legacies of the Holocaust in contemporary Europe. Politics, Violence, Memory brings new data to bear on these important concerns and shows how older data can be deployed in new ways to understand the "index case" of violence in the modern world.