Heresy and heroics: The debate on the alleged ‘crisis’ in Italian industrial design around 1960

Modern Italy ◽  
2009 ◽  
Vol 14 (3) ◽  
pp. 257-274 ◽  
Author(s):  
Kjetil Fallan
Keyword(s):  
Future Development ◽  
Industrial Design ◽  
Professional Community ◽  
Postwar Period ◽  
Avant Garde ◽  
Heated Debate ◽  
The 1950S ◽  
Italian Design ◽  
The 1960S ◽  
Made In

In the course of the 1950s, Italian industrial design underwent a period of professionalisation and rose to international fame under the banners of ‘Made in Italy’ and ‘la linea italiana’. Seen in retrospect, Italian design retained this position during the 1960s, with the onset of avant-garde ‘pop-design’ and ‘anti-design’. Yet this future development was by no means a given in the Italian design community at the turn of the decade. At this crucial moment, between the rationality of the first postwar period and the playfulness of the second, allegations of a ‘crisis’ in Italian industrial design raised a storm in the professional community for a brief period around 1960. This article analyses this heated debate, focusing on its most pronounced manifestation: the discussions in the Associazione per il Disegno Industriale (ADI) and the design magazine Stile Industria following the jury's decision to withhold the Gran Premio Nazionale Compasso d'Oro for 1959.

The Challenge of Minority Nationalism

2020 ◽  
Vol 43 (3) ◽  
pp. 483-509
Author(s):  
Johannes Heuman
Keyword(s):  
Middle East ◽  
Ethnic Identities ◽  
Postwar Period ◽  
Left Wing ◽  
Jewish State ◽  
Positive View ◽  
Middle East Conflict ◽  
The 1950S ◽  
The 1960S ◽  
Nouvelles Associations

Abstract This article investigates how the French antiracist movement and its main organizations dealt with Zionism and the Middle East conflict from the liberation of France until the early 1970s. Their generally positive view of Israel and their concern for Arab interests at the end of the 1940s demonstrate these republican organizations' desire to recognize ethnic identities. During the 1950s an ideological split between left-wing antiracism and Zionism began to develop, and by the end of the 1960s a number of new antiracist associations questioned the very foundation of the Jewish state. Overall, the study argues that antiracist organizations' stances on and statements about Zionism and the Middle East conflict influenced Jewish-Arab relations during the postwar period and played an important role for both Jews and Arabs. Cet article examine comment le mouvement antiraciste français et ses principales organisations ont abordé le sionisme et le conflit au Moyen-Orient depuis la Libération jusqu'au début des années 1970. Leur opinion surtout positive d'Israël ainsi qu'un souci pour les intérêts arabes à la fin des années 1940 montrent un certain désir par ces organisations républicaines de reconnaître les identités ethniques. Pendant les années 1950, une fracture idéologique entre l'antiracisme de gauche et le sionisme commence à se développer, et dès la fin des années 1960 un activisme plus poussé a amené de nouvelles associations antiracistes à remettre en question les fondements mêmes de l'Etat juif. Dans l'ensemble, l'étude montre que les organisations antiracistes ont été impliquées dans l'élaboration des relations judéo-arabes après la guerre à travers leurs positions et déclarations sur le sionisme et le Moyen-Orient, des questions qui jouent un rôle important pour les Juifs et les Arabes.

scholarly journals Rubén Darío en el debate sobre la literatura nacional nicaragüense

(an)ecdótica ◽  
2021 ◽  
Vol 5 (1) ◽  
pp. 61-82
Author(s):  
Diana Moro ◽  
Keyword(s):  
Cultural Capital ◽  
Critical Review ◽  
Literary History ◽  
Ruben Dario ◽  
Avant Garde ◽  
The 1960S ◽  
Made In

The debate on literature in Nicaragua, at various moments in the country’s history, is elaborated on the figure, aesthetics, and work of Rubén Darío. Not only the birth and death of the poet on vernacular soil are central aspects in the appropriation made, but above all, the international cultural capital built through his wandering life and cosmopolitanism in his work. The appropriation of his aesthetics, as well as the distancing and debates about his contribution, persist in various moments of Nicaraguan literary history. We will explore some interventions by Nicaraguan intellectuals who are members of the Avant-garde Group, above all, their subsequent critical review and the contribution that Ventana magazine made in the 1960s. Finally, it will be observed that during the revolutionary decade, 1979-1989, the figure of Darío concentrates, at least, two simultaneous appropriations, the “anti-imperialist” and the “half-blood”. Both perspectives coincide in the conviction that, in Nicaragua, there would be no literature without the magisterium of Darío.

scholarly journals Norwegian Political Theatre in the 1970s: Breaking Away from the “Ibsen Tradition”

2016 ◽  
Vol 28 (1) ◽  
pp. 50
Author(s):  
Anna Watson
Keyword(s):  
Deep Sea ◽  
Living Room ◽  
Left Wing ◽  
Political Climate ◽  
Political Theatre ◽  
Avant Garde ◽  
The Social ◽  
Experimental Theatre ◽  
The 1960S ◽  
Made In

The dominant theatre aesthetic in Norwegian theatre has been, and remains at large to be, psychological-realism and the bourgeois “living room drama”. In a Norwegian context this tradition is best represented by Henrik Ibsen’s dramas, staged at Nationaltheatret and Den Nasjonale Scene. However, throughout the 20th century there have been several attempts to break with the “Ibsen tradition”, especially among left-wing political and socially engaged theatre-makers and playwrights such as Gunvor Sartz, Olav Daalgard, and Nordahl Grieg in the 1930s, and Jens Bjørneboe and Odin Teatret in the 1960s. I argue that the clearest and most decisive break with Realism and the Aristotelian dramaturgy, in a Norwegian political theatre context, was made in the late 1970s, instigated by the independent theatre groups Perleporten Teatergruppe and Tramteatret. Their break did not only constitute an aesthetic and dramaturgical break, but also a break in organizational terms by breaking the hierarchy of the institutional theatre ‘machine’. Perleporten Teatergruppe and Tramteatret aimed at making a political, progressive theatre both in form and content. Perleporten and Tramteatret were both inspired by contemporaneous political and experimental theatre in Europe and Scandinavia as well as by the historical avant-garde experiments, and, for Tramteatret’s part, the workers' theatre movement from the 1920s and 30s in their search for a theatre that could express the social and political climate of the day. In this article, I will place Tramteatret and Perleporten Teatergruppe’s debut performances Deep Sea Thriller (1977) and Knoll og Tott (1975) within a historiographical and cultural-political context.

4. ‘Made in Italy’

2016 ◽  
pp. 62-79
Author(s):  
Anna Cento Bull
Keyword(s):  
Nuclear Family ◽  
Raw Materials ◽  
Social Phenomena ◽  
Italian Economy ◽  
Early Twenty ◽  
The World ◽  
Private Car ◽  
Italian Design ◽  
The 1960S ◽  
Made In

Despite lacking raw materials and still being heavily dependent on agriculture in the early 20th century, Italy managed to become the fifth most industrialized economy in the world by the 1980s. The economic miracle of the 1960s, in particular, was accompanied by social phenomena typically associated with the process of modernization, including urbanization, the predominance of the nuclear family, mass consumerism, and mass transport based on private car ownership. Italian design became known the world over, combining creativity with craftsmanship. ‘Made in Italy’ describes early industrialization, the ‘golden age’ of the Italian economy, the slowdown and decline of the 1990s and early twenty-first century, and the recent economic fight back.

scholarly journals Graphic Design as a University Discipline in Argentina, 1958–1985

Design Issues ◽  
2016 ◽  
Vol 32 (3) ◽  
pp. 67-77
Author(s):  
Verónica Devalle
Keyword(s):  
Graphic Design ◽  
Design Education ◽  
Industrial Design ◽  
Buenos Aires ◽  
Public Institutions ◽  
Postwar Period ◽  
American School ◽  
Avant Garde ◽  
National University ◽  
Pan American

The article aims to reconstruct the emergence and consolidation of graphic design as a university discipline in Argentina. It is a process that started in the late 1950s and has intersected with various important historical moments—for instance, the early dialogue between Max Bill and Argentinean avant-garde artists, such as Alfredo Hlito and Tomás Maldonado in the immediate postwar period. Also instrumental in the process were the networks between Brazilian modernism—especially from Rio de Janeiro and São Paulo—and avant-garde artists from Montevideo and Buenos Aires, as well as the gradual arrival of what is known as the Modern Movement in the practice of architecture and in its teaching in universities. It reviews the institutions that were pioneers of design education in Argentina. The cases addressed are the National University of Cuyo (UNCu), National University of La Plata (UNLP), the Centre for Research in Industrial Design (CIDI), the Centre of Arts and Communication (CAYC), the Pan American School of Art (EPA), and the National University of Buenos Aires (UBA). While the national universities and CIDI are public institutions, the CAYC and EPA were private initiatives.

“Everyone has their own reality”. “Realism” – topicality in the East and in the West at the end of the 1950s and the 1960s

2020 ◽  
Vol 4 (2) ◽  
Author(s):  
Irina Genova ◽  
Keyword(s):  
Complex Dynamics ◽  
Iron Curtain ◽  
The West ◽  
Avant Garde ◽  
Art Practices ◽  
The 1950S ◽  
The 1960S ◽  
Critical Discourses

In the decade up to 1968, “realism” was a key ideological notion on both sides of the Iron Curtain. It was not unambiguous; it expressed misunderstandings and contradictions, and gave room for manipulative interpretations and diversion of meanings. The visions of “reality” and “realism” were often conflicting in national artistic milieus, as was the case in France. The Neo-avant-garde communities did not stay away from the dispute over the notion and Pierre Restany even appropriated it by using it to name the art group which he unified as an ideologist in 1960. The complex dynamics of the ideas in “the opponents’ field” was closely followed both in the East and the West. At international art forums the notion of “realism” played a role in different critical discourses. The opposing ideologies, through mediation and transfer, mutually modelled both its use by critics and the art practices themselves.

scholarly journals “GLADYATÖR” FİLMİNİN ARKEOLOJİK AÇIDAN İNCELENMESİ A REVIEW OF “GLADIATOR” FROM THE ARCHEOLOGICAL POINT OF VIEW

2021 ◽  
Vol 6 (14) ◽  
pp. 126-139
Author(s):  
Ufuk GÜRAL
Keyword(s):  
Point Of View ◽  
Ridley Scott ◽  
Story Line ◽  
Starting Point ◽  
Art Design ◽  
The 1950S ◽  
The 1960S ◽  
Made In

Epic Films, which is an important genre in cinema, have always won the appreciation of the audience and have been most popular in the 1950s and 60s with their samples that depict the “Antique Age”. The samples of this genre, that educate while entertain are still being made today. After the 2000 movie "Gladiator", many Epics have being produced. One of the best Epic Films, director Ridley Scott's 2000 film "Gladiator" is successful not only in terms of cinematic point of view but also in terms of its reflecting archaeological facts correctly. The film successfully transferred history to the pellicule in terms of venues, art design, accessories and the story line. In "Gladiator", director Ridley Scott gathered all the elements of Gladiator Films, -a subgenre of Peplas made in Italy in the 1960s- and reflected them in one film only. “Gladiator”, combines the themes of Peplas, such as Rome, gladiators, arenas, slaves and cruel rulers in a single work. The starting point of the movie is the competitions held in the Arena in the Ancient Age. Arenas are a platform not only individuals show themselves, but also the rulers to prove their power. In our study, starting from the formation of Amphitheaters, we examine the Arena Phenomenon, Gladiator Films and the place of "Gladiator" in between the similar works, respectively.

Economic Development and Social Equity: A Latin American Perspective

1996 ◽  
Vol 38 (2-3) ◽  
pp. 47-71 ◽  
Author(s):  
Oscar Altimir
Keyword(s):  
Latin American ◽  
World Economy ◽  
Social Equity ◽  
Postwar Period ◽  
American Perspective ◽  
The World ◽  
Per Capita ◽  
The 1950S ◽  
Oil Crisis ◽  
The 1960S

Although the different phases of each country's development are far from being synchronous, in general Latin America's growth in the postwar period began to change pace and pattern around the mid- 1960s, then again following the oil crisis of 1973, which ushered in a slowdown of the world economy, only to plunge into crisis anew early in the 1980s.As discussed in Altimir (1994a), during the 1950s and 1960s, growth — i.e., at substantial rates, greater than 2%per capita — was either unequal (as in Brazil or Chile in the 1960s) or else involved an increase in inequality in the 1950s that was followed by a phase of inequality that remained essentially unchanged throughout the 1960s (as in Argentina, Colombia or Mexico).

A history of botanical collections in the Luangwa Valley, Zambia

1998 ◽  
Vol 25 (2) ◽  
pp. 283-291
Author(s):  
P.S.M. PHIRI ◽  
D.M. MOORE
Keyword(s):  
Eighteenth Century ◽  
Environmental Impact ◽  
Impact Assessment ◽  
Vascular Plants ◽  
Central Africa ◽  
Peak Activity ◽  
Historical Account ◽  
History Of ◽  
The 1960S ◽  
Made In

Central Africa remained botanically unknown to the outside world up to the end of the eighteenth century. This paper provides a historical account of plant explorations in the Luangwa Valley. The first plant specimens were collected in 1897 and the last serious botanical explorations were made in 1993. During this period there have been 58 plant collectors in the Luangwa Valley with peak activity recorded in the 1960s. In 1989 1,348 species of vascular plants were described in the Luangwa Valley. More botanical collecting is needed with a view to finding new plant taxa, and also to provide a satisfactory basis for applied disciplines such as ecology, phytogeography, conservation and environmental impact assessment.

Transformations: The New Deal through the 1950s

2017 ◽  
Author(s):  
Nancy Woloch
Keyword(s):  
Women Workers ◽  
New Deal ◽  
Federal Court ◽  
Labor Standards ◽  
Equal Rights ◽  
Single Sex ◽  
Fair Labor Standards Act ◽  
The 1950S ◽  
The 1960S ◽  
The New Deal

This chapter traces the changes in federal and state protective policies from the New Deal through the 1950s. In contrast to the setbacks of the 1920s, the New Deal revived the prospects of protective laws and of their proponents. The victory of the minimum wage for women workers in federal court in 1937 and the passage in 1938 of the Fair Labor Standards Act (FLSA), which extended labor standards to men, represented a peak of protectionist achievement. This achievement rested firmly on the precedent of single-sex labor laws for which social feminists—led by the NCL—had long campaigned. However, “equal rights” gained momentum in the postwar years, 1945–60. By the start of the 1960s, single-sex protective laws had resumed their role as a focus of contention in the women's movement.

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