Songs of the Golden Age in the Democratic Republic

2021 ◽  
pp. 71-107
Author(s):  
Lonán Ó Briain
Keyword(s):  
Cultural Production ◽  
Golden Age ◽  
Performing Arts ◽  
Mass Medium ◽  
Primary Source ◽  
Reform Era ◽  
Vietnamese History ◽  
Archival Documents ◽  
Cultural Programming ◽  
Indochina War

Following the Geneva Accords of 1954, the VOV employed an array of ensembles that performed newly composed red music and revolutionary songs (ca khúc cách mạng) from the First Indochina War. Chapter 3 examines the construction of the DRV’s broadcasting and performing arts infrastructure at a time when radio was the principal mass medium for sound-based communications and the primary source for news and cultural programming. These infrastructural developments coincided with an escalation of tensions in the Second Indochina War (1955–75), when the DRV used radio to inundate southern listeners with their propaganda. With a particular focus on the central site for cultural production (state radio) and the most prominent musical form of the era (red music), this chapter illustrates how the DRV’s Ministry of Culture used radio productions on socialist themes as technologies of governmentality. Broadcasters reified the roles of men, women, and children in the ears and minds of their listening public. Their productions also played a crucial role in defining cultural boundaries between the proletariat and the bourgeoisie as broadcasters sought to sonically territorialize the socialist state. Based on interviews with former station employees, analyses of iconic songs, and archival documents, the research suggests the ongoing veneration of singers, songs, and stories from this golden age of radio music constructs a particular narrative about Vietnamese history that commemorates the achievements of the CPV and perpetuates its control in the reform era.

The Golden Age of Stealing: An Analysis of Queer Appropriation and Exploitation in 21st Century Popular Culture

2018 ◽  
Author(s):  
Adrian Deveau
Keyword(s):  
Popular Culture ◽  
21St Century ◽  
Cultural Production ◽  
Golden Age ◽  
Consumer Society ◽  
For Profit ◽  
Cultural Productions ◽  
Queer Culture ◽  
Rapid Spread ◽  
Queer Art

Popular media is a series of appropriations and citations of cultural productions, refurbishing past ideas to fit the mold of the present. Representation of art works and cultural products influence the visibility of the groups who produce for popular culture. While social media and contemporary art allow for the rapid spread of ideas through the internet and advertisements, too often are ideas stolen for profit for large companies by exploiting the artistic integrity of uninitiated groups. Queer culture often appropriates historical methodologies for a reclamation of the past to create representation for the future. Queer artists produce landmark aesthetics in visual culture, shaping contemporary fashion trends and artistic movements in the 21st Century. While appropriation as a methodology is not inherently problematic, exploitation develops when artists are neglected credit for works which are exploited for capitalist gain.The research paper The Golden Age of Stealing: An Analysis of Queer Appropriation and Exploitation in 21st Century Popular Culture analyzes the relationship between the appropriation and exploitation of Queer art, using the 1980’s and 90’s club kids as a platform for queer aesthetic production. The paper outlines the dichotomy between representation of queer peoples in the 1990’s and the aesthetics produced to question popular representations and roles within a western consumer society. Using queer performative theories including utopianism, performativity, and disidentification, the paper distinguishes why the stealing of queer art for profit is inherently dangerous and regressive for the queer community, silencing queer voices and perpetrating a heteronormative narrative of cultural production.

Perils of Lending Rare Book and Archival Materials for Exhibition

2018 ◽  
pp. 232-249
Author(s):  
Patti Gibbons
Keyword(s):  
Cultural Heritage ◽  
Primary Source ◽  
Rare Book ◽  
Archival Documents ◽  
Potential Losses ◽  
Source Materials

As an outreach strategy, libraries and archives lend rare book and primary source materials to cultural heritage institutions for exhibitions, making significant holdings and collection materials available more widely to new audiences for viewing, research, and study. These texts, manuscripts, and archival documents are often highly valuable, historically significant, and irreplaceable. By identifying, evaluating, and addressing risks present during loans, lenders minimize exposure and potential losses of these valuable cultural heritage materials. This chapter examines specific ways lenders can recognize and assess risks presented during an exhibition loan and helps institutions better protect their important holdings and prevent detrimental losses to culturally significant materials.

A move towards curating in the field of contemporary visual and performing arts: The Nagib platform

Maska ◽  
2019 ◽  
Vol 34 (196) ◽  
pp. 44-59
Author(s):  
Kaja Kraner
Keyword(s):  
Contemporary Art ◽  
Visual Arts ◽  
Cultural Production ◽  
Performing Arts ◽  
Concrete Case ◽  
Visual And Performing Arts ◽  
Long Operation

In the first phase, the article strives to outline the context of the expansion of curation in the field of visual arts in relation to certain specifics of contemporary art in Slovenia since the 1990s. I point out a few similarities within the field of contemporary performing arts, moving onto the concrete case of the fifteen-year-long operation of the Nagib platform, formalised since 2013 as Nagib, Association for the Cultural Production and Affirmation of Artistic Processes. I constantly try to think of the focus shifts and approaches to the functioning of the Nagib platform along the basic lines of wider production changes in the cultural and artistic field in Slovenia that have taken place since this period, while referring to certain specifics of the Maribor cultural and artistic context.

scholarly journals Lost in translation : new media, performance, & identity in Quebec

2021 ◽  
Author(s):  
Daniel Goldberg
Keyword(s):  
New Media ◽  
Cultural Production ◽  
Performing Arts ◽  
Critical Evaluation ◽  
Communication Technologies ◽  
Critical Examination ◽  
Time And Space ◽  
The Impact ◽  
Media And Communication ◽  
Lost In Translation

A descriptive exploration of the impact on contemporary Québécois performing arts by new media and communication technologies, this thesis provides a historical and critical evaluation of "multimedia theatre" in Quebec. Drawing on Turner's theories of performative ritual and Armour & Trott's writing on culture and the Canadian mind, as well as the work of Benjamin, Ellul, Grant, Heidegger, Innis, and McLuhan on technology and cultural production, and the issues of time and space raised by the work of Gilles Maheu, Josette Féral, Patrice Pavis, and Robert Lepage, among others, this thesis argues that while prior research has located Quebec's arts culture in provincial drives for sovereignty and cultural recognition, it might better be understood as a narrative of a people in search of self-identification, offering new perspectives by which to understand an interlinked development of technology and artistic endeavour that has long been in need of critical examination.

Racial Immanence

2019 ◽  
Author(s):  
Marissa K. López
Keyword(s):  
Identity Politics ◽  
Cultural Production ◽  
Performing Arts ◽  
The Body ◽  
Global Politics ◽  
Sense Experience ◽  
Cultural Objects ◽  
Agents Of Change ◽  
The Subject ◽  
Human Quality

Racial Immanence is about how and why artists use the body in contemporary Chicanx cultural production. The book explores disease, disability, abjection, and sense experience in Chicanx visual, verbal, and performing arts from the late 1980s to the early 1990s in order to ask whether it is possible to think of race as something other than a human quality. This attention to the body is a way to push back against two distinct modes of identity politics: first, the desire for art to perform or embody an idealized abstraction of oppositional ethnicity; and second, the neoliberal commodification of identity in the service of better managing difference and dissent. While these two modes seem mutually exclusive, the resistance the artists in Racial Immanence exert toward both suggests a core similarity. By contrast, the cultural objects examined in the book assert human bodies as processes, as agents of change in the world rather than as objects to be known and managed. Within Chicanx cultural production the author locates an articulation of bodily philosophies that challenge the subject/object dualism leading to a global politics of dominance and submission. Instead, she argues, Chicanx cultural production fosters networks of connection that deepen human attachment to the material world, a phenomenon the author terms “racial immanence” that creates the possibility of progressive social change.

Fueling the Boom: Coal as the Primary Source of Energy for Processing Zinc in China and Comparison with Europe, ca. 1720-1820

2014 ◽  
Vol 57 (1) ◽  
pp. 76-111 ◽  
Author(s):  
Hailian Chen
Keyword(s):  
Fuel Efficiency ◽  
Spatial Relationship ◽  
Primary Source ◽  
Ore Deposits ◽  
Modern China ◽  
Quantitative Evidence ◽  
Coal Fuel ◽  
Archival Documents ◽  
New Perspective ◽  
Relationship Of

AbstractStemming from an examination of the zinc industry in early modern China, this article centers on a detailed survey of coal, the primary source of energy for processing zinc. On the basis of Qing archival documents, this article investigates the previously unknown spatial relationship of zinc ore deposits, coal mines, and zinc smelters; provides quantitative evidence of coal use by estimating the annual consumption of coal in processing zinc; offers a new perspective on the general use of coal in Qing China; and compares the coal-fuel efficiency problem in early European and Chinese zinc production.

scholarly journals Analyzing Interviews with Terrorists

2020 ◽  
Author(s):  
John F. Morrison
Keyword(s):  
Golden Age ◽  
Primary Source ◽  
Primary Sources ◽  
Ethical Practices ◽  
Interview Research ◽  
Source Data ◽  
To Come ◽  
Access To Data

For years the dominant narrative has been that there is a dearth of primary sources in terrorism studies. This is now changing. The talk about the scarcity of data is gradually being replaced by discussions of a “data revolution” and a “golden age” of terrorism research. We are now publishing more research based on the analysis of primary source data than ever before. Included in this has been some ground-breaking interview research with recent and former terrorists—research that could define how we think about terrorist involvement for years to come. With this increased access to data, if our research is to have any analytical value and concurrently respected both within and outside of academia, we need to actively consider how we analyze it. This chapter discusses some of the issues that need to be taken into consideration when analyzing first-hand interviews, including the importance of specificity, different available analytic techniques, the role of triangulation, and ethical practices.

scholarly journals Innovations in Landlord Economy in the 1830–50s: Based on Materials from the Baryshnikovs Fond in the State Archive of the Smolensk Region

2020 ◽  
pp. 505-515
Author(s):  
Boris M. Romanov ◽  
Keyword(s):  
Risk Identification ◽  
The State ◽  
Economic Life ◽  
State Archive ◽  
Skilled Workers ◽  
Reform Era ◽  
Archival Documents ◽  
History Of ◽  
National Production ◽  
The One

The study of innovations in the landlord economy of pre-reform Russia is of particular relevance under the modern conditions while modernizing national production and searching for a breakthroughs in science and business. This study is of interdisciplinary nature, since, on the one hand, it touches upon historical issues related to the development of landlord economy in the 1830–50s; on the other hand, upon economic issues of production activities. The author uses documents of the richest personal provenance fond of the Baryshnikovs from the State Archive of the Smolensk Region, which includes over 15,000 items and covers almost two centuries in the history of this noble family. Along with documents originating from government agencies, Empress Catherine II, and the Senate, the fond contains records of service, descriptions and plans of the Baryshnikovs’ estates, land-surveying books, account books, bills of sale, landlords instructions to stewards, reports from bureaus of estates, information on crops and harvests, livestock and its productivity. Having analyzed archival documents, the author identifies innovations in the landowner economy of the Baryshnikovs, follows their implementation, and draws a number of conclusions: (1) in the last decades of the pre-reform era, the landlords tried to increase profitability of their estates by introducing more productive varieties of grain, grass sowing, new agricultural machinery, breeding livestock and its good maintenance, acquiring new equipment; (2) in introducing innovations, landowners relied more on luck than on calculations, risk identification and reduction; (3) the innovations had a significant impact on the development of landlord economy, but required significant financial investments, careful planning, and skilled workers. The study reveals one of the more important aspects of the daily economic life of the Russian provincial nobility on the eve of the Great Reforms of Alexander II.

The Dueling Greek Golden Ages of 300: Rise of an Empire (2014)

2018 ◽  
pp. 101-118
Author(s):  
Seán Easton
Keyword(s):  
Cultural Production ◽  
Golden Age ◽  
Social Institutions ◽  
Western Civilization ◽  
Persian Wars ◽  
The World ◽  
Of Greece

The first of three chapters examining Athens’ golden-age legacy considers a problem in 300: Rise of an Empire (2014): given the franchise’s vehement Laconophilia (love of Sparta), this sequel to 300 struggles to acknowledge Athens’ indispensable contribution to theallied Greek victory against the invading Persian army. If the Athenians can claim credit for both Greek victory over Persia and the invention of social institutions and cultural production that flourished in the subsequent decades—the basis for the “golden age of Greece” at the root of “Western civilization”—what remains for the Spartans? As Easton elucidates, 300: Rise of an Empire invalidates Athens’ material grandeur by fetishizing the city’s historical destruction during the Persian Wars, including through the a historical fall of the “Athena the Defender” statue on the world-famous Acropolis. At the same time, the themes of the Parthenon’s famous sculptural program(the contest between Athena and Poseidon; heroes battling hybrid monsters, including centaurs and Amazons; and the birth of Athena) haunt the film’s presentation of conflicts between the Greeks, represented by the Athenian general Themistocles and Leonidas’ Spartan widow Queen Gorgo, and the Persians, represented by the Great King Xerxes and especially the adopted Greek-turned-Persian Artemisia.

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