After Deportation

2018 ◽  
pp. 315-324
Author(s):  
Jeronim Perović
Keyword(s):  
The 1950S ◽  
To Come ◽  
Separatist Movement

This chapter provides an overview of the period from deportation and exile to the Chechen separatist movement of the early 1990s. While life in exile had changed people, many North Caucasians had yet to come to terms with unresolved traumas upon their return to their homeland in the second half of the 1950s. The problem was not a “lack of Sovietization,” as some Russian historians infer, but the fact that the discrimination and injustice experienced by these peoples under Stalinism could not be discussed at any time during the late Soviet era. There might have been an occasion for a true reconciliation with history and with Russia at the end of the 1980s and in the early 1990s, during the period of “glasnost” and “perestroika” under Gorbachev and Yel’tsin, when a clear reckoning was held concerning the crimes during the Stalinist era. However, this opportunity was tragically missed in the course of resurgent Chechen nationalism and the wars that Russia waged in the 1990s and 2000s against this small Caucasus republic.

Scelsi, Giacinto (1905–1988)

2018 ◽  
Author(s):  
Eric Drott
Keyword(s):  
Musical Training ◽  
Twelve Tone ◽  
Early Music ◽  
Avant Garde ◽  
Piano Lessons ◽  
The 1950S ◽  
To Come ◽  
The Way

Giacinto Scelsi was an Italian avant-garde composer best known for the single-note style he developed during the 1950s and 1960s, which minimizes harmonic and melodic activity in order to allow microtonal fluctuations and subtle transformations in timbre, intonation, dynamics, and articulation to come to the fore. Although his works were little known and infrequently performed during his lifetime, they gained considerable acclaim in the 1980s. Scelsi’s œuvre has proven extremely influential, and is generally regarded as a precursor to the spectral movement. Many of the elements of Scelsi’s biography remain uncertain, due in part to the composer’s penchant for self-mythologization. His family belonged to the southern Italian nobility, and it was in their ancestral chateau in Irpinie that Scelsi’s interest in music first manifested itself. He had little in the way of formal musical training, apart from receiving private piano lessons in his youth. Scelsi spent much of the 1920s and 1930s abroad, principally in France and Switzerland. It was during this period that he composed his first pieces, most notably Rotativa for pianos, strings, brass and percussion (1930). His early music was stylistically eclectic, embracing post-impressionist, neo-classical and twelve-tone idioms at various points in his life.

1957: A Divided Europe. European Cinema at the Time of the Rome Treaty

1999 ◽  
Vol 8 (3) ◽  
pp. 411-424 ◽  
Author(s):  
Pierre Sorlin
Keyword(s):  
Popular Culture ◽  
Main Part ◽  
Social Background ◽  
Cultural Traditions ◽  
Contemporary World ◽  
European Cinema ◽  
The 1950S ◽  
To Come

The 1950s were the heyday of cinema in Europe. Rather than competing with Hollywood studios, European film companies preferred to stick to old, well established recipes. Germany recycled one of its cultural traditions, Heimat. Despite the poverty of their plots and the weakness of their protagonists, the Heimatfilme succeeded by celebrating an unspoilt, soothing wilderness. The Italian counterpart of Heimatfilme was melodrama. If family dramas remained much appreciated in the Peninsula, the filmmakers were clever enough to shift their characters from an ill-defined epoch to the contemporary world. So, while urban Germany was pining for its wild, empty mountains, rural Italy was contemplating its domestic comforts to come. With the Carry On series, Britain was loyal to comedies, which filled the main part of the programmes. The plots – which merely dealt with private affairs – were humorous, harmless, always deprived of authentic social background. The European cinemas of the 1950s were directed towards large, mostly ‘popular’ audiences of people who used to leave their houses and gather in town centres on Saturday evenings. These cinemas did not produce any masterpieces but they were the most characteristic, and the most appreciated, form of entertainment in the middle of the century. It was not art, but it was ‘popular’ culture.

Monsters in the Machine

2016 ◽  
Author(s):  
Steffen Hantke
Keyword(s):  
World War Ii ◽  
Science Fiction ◽  
Social History ◽  
Industrial Complex ◽  
Nuclear War ◽  
Science Fiction Films ◽  
The 1950S ◽  
To Come ◽  
The Cold War ◽  
The Military

During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction, the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. These films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries, they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life. Regardless of their genre, this book argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, the book follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.

scholarly journals Better times to come? Intergenerational class mobility of labour market entrants in Germany and the UK since the 1950s

2021 ◽  
Author(s):  
Nhat An Trinh ◽  
Erzsebet Bukodi
Keyword(s):  
Labour Market ◽  
Upward Mobility ◽  
Labour Force ◽  
Relative Mobility ◽  
Downward Mobility ◽  
Class Mobility ◽  
The 1950S ◽  
To Come ◽  
The Uk ◽  
Social Fluidity

This study examines over-time trends in intergenerational class mobility based on cohorts of labour market entrants in Germany and the UK since the 1950s. We calculate absolute and relative mobility rates, separately for men and women, using the German Socio-Economic Panel (1984-2016), the UK Household Longitudinal Study (2009-2016), and the UK Labour Force Survey (2014-2017). Regarding absolute mobility, we find marked country differences in upward and downward rates. In Germany, downward mobility decreased, while upward mobility rose. In the UK, downward mobility increased, while upward mobility declined. We provide evidence that these differences can be linked to contrasting changes in the distribution of origin and destination classes. Regarding relative mobility, striking country similarities appear. For both countries, we observe increases in social fluidity for respondents entering the labour market during the 1950s and 1960s that cease to continue for cohorts thereafter. Comparisons between adjacent cohorts do not provide evidence that social fluidity follows cyclical developments of the economy or shorter-term volatilities in the labour market.

scholarly journals Terraforming and the City // Terraformación y la ciudad

2016 ◽  
Vol 7 (2) ◽  
pp. 65-84
Author(s):  
Chris Pak
Keyword(s):  
Climate Change ◽  
Sense Of Place ◽  
Popular Imagination ◽  
Multiple Environments ◽  
The 1950S ◽  
To Come ◽  
And Control ◽  
The City ◽  
Contemporary Context

      Science fictional depictions of cities have explored a variety of utopian and dystopian modes of habitation and control that have fed into popular imagination regarding the shape of future societies. The intersection between terraforming, the adaptation of planetary landscapes, and the interfaces for these interventions into multiple environments (the city) have accrued new resonances in the contemporary context of climate change. This paper surveys the image of the city in narratives of terraforming from H.G. Wells’s The Shape of Things to Come (1933), through the American pulp sf of the 1950s, the ecological sf of the 1970s-1980s and the terraforming stories of the 1990s, and up to Kim Stanley Robinson’s Red Mars, Green Mars and Blue Mars (1992-1996). Exploring how the image of the city appears in these narratives, this paper raises questions about how these interfaces with nature explore possible modes of habitation. What does this mean for a burgeoning sense of place that has begun to consider how such imagined habitations become spaces that are embedded in nature and thus reflect new conceptions of the human? Resumen      La representación de la ciudad en la ciencia ficción ha sido utilizada para explorar una variedad de modos de morada y control utópicos y distópicos que han alimentado la imaginación popular con respecto al aspecto de las sociedades futuras. La intersección entre la terraformación, la adaptación de paisajes planetarios, y las interfaces para estas intervenciones en múltiples ambientes (la ciudad), han acumulado nuevas resonancias en el contexto contemporáneo del cambio climático. Este artículo considera la relación entre la naturaleza no-humana y la ciudad en narrativas de terraformación desde The Shape of Things to Come (1933) de H.G. Wells a través de los pulps de ciencia ficción americanos de los años 50, Genesis (1988) de Frederick Turner, y las novelas Red Mars, Green Mars y Blue Mars (1992-1996) de Kim Stanley Robinson. Mediante la exploración de cómo la ciudad se asocia con la naturaleza no-humana en forma del animal, de bacterias y plantas en estas narrativas, este artículo sugiere preguntas sobre cómo estas interfaces con la naturaleza exploran posibles modos de morada. ¿Qué significa esto para un creciente sentido de lugar que ha comenzado a considerar cómo estas moradas imaginadas se convierten en espacios que se incrustan en la naturaleza y, por lo tanto, reflejan nuevas concepciones de lo humano?

Always Already (The Poetic and Political Interruption of Thought)

2018 ◽  
pp. 280-289
Author(s):  
Christophe Bident
Keyword(s):  
The 1950S ◽  
To Come ◽  
The Many

Focuses on Blanchot’s following literary-critical collection, The Book to Come. The chapter underlines its emergence from the many literary theorizations of the 1950s, with a growing emphasis on notions such as interruption and the fragment.

The Life and Times of the Law of International Organizations

2001 ◽  
Vol 70 (3) ◽  
pp. 287-317 ◽  
Author(s):  
Keyword(s):  
International Organizations ◽  
Case Law ◽  
Second Stage ◽  
Third Stage ◽  
The World ◽  
Three Stages ◽  
The Law ◽  
The 1950S ◽  
To Come ◽  
Normative Perspective

AbstractThe author analyzes the development of the law of international organizations through the case-law of the World Court and doctrinal writings, and distinguishes three stages. In the first stage (roughly, the interbellum), the law was mainly concerned with trying to come to terms with the new phenomenon of international organizations. In the second stage (peaking in the 1950s and 1960s), the law was predominantly concerned with solving practical problems. In the present third stage, however, conscious attempts are being made to conceptualize and to place organizations in a larger normative perspective. The author concludes that this is a felicitous development.

scholarly journals Muscle contraction: Sliding filament history, sarcomere dynamics and the two Huxleys

2016 ◽  
Vol 2016 (2) ◽  
Author(s):  
John M Squire
Keyword(s):  
Muscle Contraction ◽  
Striated Muscle ◽  
History Of ◽  
Sarcomere Dynamics ◽  
Guiding Principles ◽  
The 1950S ◽  
To Come ◽  
The Right ◽  
Overlapping Sets

Despite having all the evidence needed to come to the right conclusions in the middle of the 1800s, it was not until the 1950s that it was realised by two unrelated Huxleys and their collaborators that striated muscle sarcomeres contain overlapping sets of filaments which do not change much in length and which slide past each other when the muscle sarcomere shortens. It then took quite a while to convince others that this was the case, but now the idea of sliding filaments is fundamental to our understanding of how any muscle works. Here a brief overview of the history of the discovery of sliding filaments and the factors that were missed in the 1800s is followed by an analysis of the more recent experiments which have added to the conviction that all muscles operate on the same guiding principles; two sets of sliding filaments, independent force generators and a mechanism of protein rowing that makes the filaments slide. 

Le Courage d’être et les contextes spirituels contemporains

2018 ◽  
Vol 13 (1) ◽  
pp. 179-196
Author(s):  
Marc Dumas
Keyword(s):  
Climate Change ◽  
The 1950S ◽  
To Come

Abstract Can the exploration of new spiritual contexts in postmodernity lead us to come to terms with anxiety in new ways and, as a consequence, with courage? Three contexts (climate change, human migrations and organizational violence) bombard our fundamental vulnerability as individuals as well as our communities. Can these contextual and paradoxical anxieties send us once again to the source of the Courage to Be? Can Tillich’s proposals from the 1950s again become both fresh and relevant? It takes fundamental courage to confront these anxieties and challenges, a courage which further defines our humanity.

Power off-screen

2021 ◽  
pp. 204-216
Author(s):  
Gillian Kelly
Keyword(s):  
Sudden Death ◽  
Screen Image ◽  
High Profile ◽  
Subsequent Birth ◽  
The 1950S ◽  
To Come ◽  
Star Images

This final chapter uses extrafilmic material, such as fan magazines, to explore the construction and development of Power’s off-screen image throughout his career. The careful manufacture of star images was a device used by studios to attract audiences to films, and ultimately sell tickets and Power received extensive publicity from early on, fan magazines depicting his off-screen life in ways that often resonated with his on-screen persona, particularly in the 1930s. This chapter explores the development of Power’s off-screen image in fan magazines from his bachelor days in the 1930s, his marriage to French actress Annabella and subsequent divorce when he returned from active war duty. His high-profile romance with Lana Turner preceded his marriage to Mexican actress Linda Christian and the birth of their two daughters, before another divorce and remarriage just before his death in 1958. Magazines then ran stories of his sudden death and subsequent birth of his only son, Tyrone Power Jr, a few months later for months to come. Additionally, while Power’s professional acting career began in the theatre in 1933, he returned to regular stage work in the 1950s in a move that was mostly well received by critics as the chapter discusses.

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