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IRAQ'S UNEASY ROAD TO THE LEAGUE OF NATIONS (1927 - 1930)

100%

Sorby K. J.

Asian and African Studies

2010

vol. 19

issue 1

87-108

In Iraq political life during the mandate came to revolve around a tripartite balance of power. One part consisted of the king, a foreign monarch (from al-Eijaz) dependent on the British for his position but anxious to develop a more permanent power base among the local politicians. Another part comprised the British, always fearful of a rebellious parliament and anxious to see their supporters in office as prime ministers and ministers of the interior. To this end they continued to insist on substantial tribal representation in parliament. Between these two elements was a shifting group of Arab sunni politicians, some more anti-British than the others, but all willing to assume office. Some were strong and capable personalities. Indeed, one feature of the period was political pluralism and sometimes intense competition for power at the top. Unused to political parties, the politicians formed parliamentary blocs, based mainly on personal ties and shifting political alliances. Few had roots in any large constituencies outside the halls of parliament, except for their links with tribal leaders. The failure to build broadly based political institutions or to reach out the groups beyond their personal or familial circles was a critical weakness of the nationalist movement. It allowed for manipulation by the British and the monarchy and it prevented any one group from establishing sufficient power to move the country along in a particular direction. The politicians focused almost exclusively on the treaty, and failed to develop programmes on the social issues, although economic issues came to be more important in the early 1930s.

“BOHEMIAN” IN PRAGUE. BOHUMIL KUBIŠTA AS A SOCIAL CRITIC

84%

Moseman E. F.

ARS

2012

vol. 45

issue 2

155 – 169

The Czech artist Bohumil Kubišta (1884 – 1918) offers an example of the Parisian bohemian transposed into the tensions of class and ethnicity in Habsburg Prague. During two residencies in Paris between 1909 and 1910 Kubišta internalized the social envisioning of landscape and metropolis characteristic of much French modernist art. While in Paris, Kubišta – like his 19th-century artistic idols – sketched scenes of bustling street life, working-class entertainments, and urban labour. He transferred this roving eye for stratified social dynamics to local subjects in Prague and the surrounding countryside. Not satisfied to represent the merely beautiful, he strived to provoke his bourgeois viewer to contemplate the realities of class-based social dynamics in the political and social setting of Habsburg Prague. As a Paris-inspired bohemian in the streets of Prague, Kubišta rendered these class and ethnic tensions in scenes that reveal him as a critical observer of modern social life.

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IRAQ'S UNEASY ROAD TO THE LEAGUE OF NATIONS (1927 - 1930)

“BOHEMIAN” IN PRAGUE. BOHUMIL KUBIŠTA AS A SOCIAL CRITIC