scholarly journals Fashion parades – for men only: Multiple tailor Hepworths, designer Hardy Amies and the marketing of men’s suits in Britain in the 1960s

2019 ◽  
Vol 6 (1) ◽  
pp. 161-178
Author(s):  
Danielle Sprecher
Keyword(s):  
Primary Source ◽  
Design Collaboration ◽  
Wide Range ◽  
Object Studies ◽  
High Street ◽  
History Of ◽  
The 1960S ◽  
Oral History Interviews ◽  
First Time ◽  
Second World

This article will examine the use of male fashion shows as a marketing and promotional tool by British high street multiple tailor Hepworths in the 1960s as part of their design collaboration with women’s fashion designer and couturier Hardy Amies. The partnership successfully brought the concept of the branded designer label to British men for the first time and was a major initiative for the menswear industry as it highlighted and consolidated a design ethos which strongly emphasized men’s fashion. Drawing on a wide range of primary source material including oral history interviews with two male models who worked for Hepworths and Amies; object studies of surviving garments; and film and images of the shows, this article will explore the significant and innovative approach to selling men’s fashionable tailoring taken by this mid-market menswear company. It also provides a broader understanding of the history of men’s fashion during this period, a narrative which is dominated by the concept of the peacock revolution, by demonstrating Hepworths’ important contribution to everyday men’s fashion in post-Second World War Britain.

Gendering the history of cinemagoing in Izmir, Turkey: Middle-class women’s experiences of cinema in the 1960s and 1970s

2021 ◽  
pp. 136754942110296
Author(s):  
Dilek Kaya
Keyword(s):  
Middle Class ◽  
Film Industry ◽  
Primary Source ◽  
Local Newspapers ◽  
Pleasurable Activity ◽  
History Of ◽  
1960S And 1970S ◽  
The 1960S ◽  
Oral History Interviews ◽  
The City

This article focuses on cinemagoing in Izmir (the third largest city in Turkey) in the 1960s and the 1970s, when the city developed a vibrant cinema culture with its numerous winter and summer cinemas. It attempts to undo the problematic conceptions of homogeneous audiences and cinemagoing experiences by focusing on how gender shaped and constructed the experiences of middle-class audiences. The primary source material for the article is qualitative data obtained from 62 oral history interviews, in addition to the contents of local newspapers and film industry magazines. The article argues that although, for women, cinemagoing was a very meaningful event in itself, it was not a wholly free and easily pleasurable activity. It also suggests that women, like men, went to the cinema to see a variety of films more than they went to socialize, and their choice of films was not limited to supposedly women’s genres. Overall, the article attempts to break with the nostalgic tone in popular and academic discussions of cinemagoing in Izmir and other cities in Turkey. It shows that cinema in Izmir, and possibly elsewhere in Turkey, was not just a forum of collective entertainment and pleasure, but also a locus of struggle.

Rebels, Believers, Survivors

2020 ◽  
Author(s):  
Noel Malcolm
Keyword(s):  
Catholic Church ◽  
Religious Conversion ◽  
Late Nineteenth Century ◽  
Napoleonic Wars ◽  
Conversion To Islam ◽  
Wide Range ◽  
History Of ◽  
External Powers ◽  
First Time ◽  
Modern Myth

This book of essays covers a wide range of topics in the history of Albania and Kosovo. Many of the essays illuminate connections between the Albanian lands and external powers and interests, whether political, military, diplomatic or religious. Such topics include the Habsburg invasion of Kosovo in 1689, the manoeuvrings of Britain and France towards the Albanian lands during the Napoleonic Wars, the British interest in those lands in the late nineteenth century, and the Balkan War of 1912. On the religious side, essays examine ‘crypto-Christianity’ in Kosovo during the Ottoman period, the stories of conversion to Islam revealed by Inquisition records, the first theological treatise written in Albanian (1685), and the work of the ‘Apostolic Delegate’ who reformed the Catholic Church in early twentieth-century Albania. Some essays bring to life ordinary individuals hitherto unknown to history: women hauled before the Inquisition, for example, or the author of the first Albanian autobiography. The longest essay, on Ali Pasha, tells for the first time the full story of the role he played in the international politics of the Napoleonic Wars. Some of these studies have been printed before (several in hard-to-find publications, and one only in Albanian), but the greater part of this book appears here for the first time. This is not only a contribution to Albanian and Balkan history it also engages with many broader issues, including religious conversion, methods of enslavement within the Ottoman Empire, and the nature of modern myth-making about national identity.

scholarly journals The War of Khalkhin Gol in 1939 and the German-Soviet Nonaggression Pact

2018 ◽  
Vol 28 (4) ◽  
pp. 585-594 ◽  
Author(s):  
Alexander Sukhodolov ◽  
Tuvd Dorj ◽  
Yuriy Kuzmin ◽  
Mikhail Rachkov
Keyword(s):  
Foreign Policy ◽  
Second World War ◽  
Historical Science ◽  
World War ◽  
The World ◽  
Long Time ◽  
History Of ◽  
First Time ◽  
Further Development ◽  
Second World

For the first time in Russian historiography, the article draws attention to the connection of the War of Khalkhin Gol in 1939 and the conclusion of the German-Soviet Nonaggression Pact of 1939. For a long time, historical science considered these two major events in the history of the USSR and history of the world individually, without their historic relationship. The authors made an attempt to provide evidence of this relationship, showing the role that surrounding and defeating the Japanese army at Khalkhin Gol in August 1939 and signing in Moscow of the German-Soviet Nonaggression Pact played in the history of the world. The study analyzes the foreign policy of the USSR in Europe, the reasons for the failure in the conclusion of the Anglo-Franco-Soviet military union in 1939 and the circumstances of the Pact. It shows the interrelation between the defeat of the Japanese troops at Khalkhin Gol and the need for the Soviet-German treaty. The authors describe the historic consequences of the conclusion of the pact for the further development of the Japanese-German relations and the course of the Second World War. They also present the characteristics of the views of these historical events in the Russian historiography.

scholarly journals Emigration of Jews from the Soviet Union in the 1960-1970s through the eyes of the American press

2019 ◽  
Vol 11 (2) ◽  
pp. 136-160
Author(s):  
Alexey V. Antoshin ◽  
Dmitry L. Strovsky
Keyword(s):  
Soviet Union ◽  
The United States ◽  
Cultural Development ◽  
The Soviet Union ◽  
American Press ◽  
The Usa ◽  
History Of ◽  
The Media ◽  
The 1960S ◽  
First Time

The article analyzes the features of Soviet emigration and repatriation in the second half of the 1960s through the early 1970s, when for the first time after a long period of time, and as a result of political agreements between the USSR and the USA, hundreds of thousands of Soviet Jews were able to leave the Soviet Union for good and settle in the United States and Israel. Our attention is focused not only on the history of this issue and the overall political situation of that time, but mainly on the peculiarities of this issue coverage by the leading American printed media. The reference to the media as the main empirical source of this study allows not only perceiving the topic of emigration and repatriation in more detail, but also seeing the regularities of the political ‘face’ of the American press of that time. This study enables us to expand the usual framework of knowledge of emigration against the background of its historical and cultural development in the 20th century.

ICONOLOGICAL METHOD IN SEMIOTIC ANALYSIS OF ARTWORKS

2021 ◽  
Vol 1 (4) ◽  
pp. 92-99
Author(s):  
А. А. Gruzdev ◽  
Keyword(s):  
Art Criticism ◽  
Historical Study ◽  
Semiotic Analysis ◽  
Wide Range ◽  
Semiotic Approach ◽  
History Of ◽  
Erwin Panofsky ◽  
Symbolic Content ◽  
Structural Mechanisms ◽  
First Time

The history of art is marked by many experiments in expanding and contrasting different methods and concepts. Nevertheless, in recent years there have been increasing attempts to draw parallels between iconology and semiotics. Of particular interest is the so-called Erwin Panofsky method, which forms the basis of modern iconology. The article discusses various aspects of the use of the iconological method in connection with the semiotic analysis of artistic works. Both general questions of the formation of iconology and special questions of its application and synthesis in the context of semiotic analysis are highlighted. A brief overview of the main iconological principles in revealing the figurative and symbolic content of the work is given, and the main features of the structural mechanisms underlying the semiotic approach are summarized. The scientific novelty of the work is determined primarily by the fact that for the first time the peculiarities of the application of the iconological method as one of the tools of semiotic analysis are investigated. Semiotics and iconology have a wide range of application in the study of culture-specific relations, since in contemporary art criticism, there is a great scientific interest in understanding the artwork as a carrier of national-cultural information. All this increases the methodological possibilities for studying the artwork, and thus expands the boundaries of the historical study of fine art.

Ivan Kavaleridze`s dramaturgy on the Sumy stage

2021 ◽  
Author(s):  
D.V. Budianskyi
Keyword(s):  
Large Scale ◽  
Musical Comedy ◽  
Historical Figures ◽  
Wide Range ◽  
Socialist Realist ◽  
History Of ◽  
Characteristic Features ◽  
Old Men ◽  
The Impact ◽  
First Time

The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Therefore, many of the artist’s ideas and achievements received due recognition only after his death. I. Kavaleridze’s creative heritage covers a wide range of both purely artistic and general philosophical problems. Among them the formation of the era of modernism and its features in the Ukrainian art of the early XX century, the impact of revolutionary ideas on the work of the 1920s, the role of spiritual leaders of the Ukrainian people T. Shevchenko and G. Skovoroda in the formation of national consciousness, political and ideological pressure on figurative art language and the formation of a socialist-realist canon, etc. The analysis of the productions of I. Kavalerizde’s plays “The First Furrow” and “Gregory and Paraskeva” on the stage of the Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy in 1970-1972. The article notes that these plays were staged in Sumy for the first time in the history of Ukrainian theater. The premiere of “The First Furrow” (the play was called “Old Men”) took place on March 19, 1970. The figure of the national genius Hryhoriy Skov oroda was als o embodied for the first time on t he stage in Sumy in th e play “Hryhoriy and Paraskeva”. It premiered on October 21, 1972. I. Rybchynsky, Honored Artist of the USSR, performed the production. Creating generalized historical outlines of people’s life, features of life at that time, depicting psychological portraits of people in various, sometimes-dramatic collisions, in the productions of I. Kavaleridze’s plays on the Sumy stage the emphasis was on universal values such as virtue, love. The main character was the Ukrainian people, who nurtured such large-scale historical figures, gave them strength and wisdom for great achievements. Based on publications in periodicals of that time, memoirs of Ukrainian directors, the peculiarities of the director’s interpretation, stenographic and musical design of these plays on the Sumy stage are considered. Considerable attention is paid to the analysis of acting works in I. Kavaleridze’s plays. In particular, the peculiarities of the actor’s embodiment of the image of the national genius Hryhoriy Skovoroda on the stage are presented. It is noted that I. Kavaleridze’s plays, created in a difficult political, social and ideological context, are rightly considered to be highly artistic works of Ukrainian drama. Their staging was carried out on various theatrical stages, including Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy is an important page of national theatrical art.

scholarly journals An Introduction to Nicos Hadjinicolaou's “Art Centers and Peripheral Art” (1982)

ARTMargins ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 112-118
Author(s):  
Terry Smith
Keyword(s):  
The United States ◽  
Political Art ◽  
Book Art ◽  
Hard Edge ◽  
War Of Independence ◽  
History Of ◽  
The 1960S ◽  
The Impact ◽  
First Time

Change in the history of art has many causes, but one often overlooked by art historical institutions is the complex, unequal set of relationships that subsist between art centers and peripheries. These take many forms, from powerful penetration of peripheral art by the subjects, styles and modes of the relevant center, through accommodation to this penetration to various degrees and kinds of resistance to it. Mapping these relationships should be a major task for art historians, especially those committed to tracing the reception of works of art and the dissemination of ideas about art. This lecture, delivered by Nicos Hadjinicolaou in 1982, outlines a “political art geography” approach to these challenges, and demonstrates it by exploring four settings: the commissioning of paintings commemorating key battles during the Greek War of Independence; the changes in Diego Rivera's style on his return to Mexico from Paris in the 1920s; the impact on certain Mexican artists in the 1960s of “hard edge” painting from the United States; and the differences between Socialist Realism in Moscow and in the Soviet Republics of Asia during the mid-twentieth century. The lecture is here translated into English for the first time and is introduced by Terry Smith, who relates it to its author's long-term art historical quest, as previously pursued in his book Art History and Class Struggle (1973).

Victims' Rights Overview under the ICC Legal Framework: A Jurisprudential Analysis

2007 ◽  
Vol 7 (2-3) ◽  
pp. 531-547 ◽  
Author(s):  
Gioia Greco
Keyword(s):  
Rome Statute ◽  
Legal Framework ◽  
Second World War ◽  
International Level ◽  
World War ◽  
Victim Status ◽  
Wide Range ◽  
History Of ◽  
Compensation Claims ◽  
Second World

AbstractVictims' role in trials gained greater relevance over the span of the history of domestic legal systems. Even so, it was only after the Second World War that compensation claims enhanced the crescendo of victims' rights recognized at international level. The ICC legal framework stands out as a glaring achievement in the international field. In fact, the Rome Statute grants to victims a wide range of rights starting from the pretrial stage throughout the trial. The protection and involvement of victims in trials reflects not only procedural fairness but also takes into consideration victims' needs and claims for justice. Beginning from a teleological approach, this paper illustrates the victims' rights under the Rome Statute. Particularly, it analyzes the Court's jurisprudential interpretation of the underpinning criteria for victim status and the rights of participation and to justice as illustrated in the Lubanga case.

The Katyń Families

2015 ◽  
Vol 29 (4) ◽  
pp. 761-774
Author(s):  
Izabella Sariusz-Skąpska
Keyword(s):  
The Elderly ◽  
Second World War ◽  
Prisoners Of War ◽  
World War ◽  
History Of ◽  
First Time ◽  
Second World

By appearance it would seem that Rodziny Katyńskie—the Katyń Families—are a veterans’ organization. The elderly, the last witnesses of the terrible Second World War, make up the majority of members. But these are not heroes, and they are not veterans. Who are they? In the first days after Poland regained its independence, after the first free elections of 4 June 1989, people from many cities leave the quiet of their homes and for the first time in their lives start talking about the history of their fathers, who had gone missing after 17 September 1939. The Katyń Families were formed. Statutes were written, and the aims of the organization were defined: explaining all of the circumstances of the Katyń Massacres, finding all of the locations where Polish prisoners of war died, and, finally, accomplishing their dignified burial in Polish War Cemeteries.

The wartime narrative in US sociology, 1940–1947

2018 ◽  
Vol 21 (4) ◽  
pp. 526-546 ◽  
Author(s):  
Anne Warfield Rawls
Keyword(s):  
World War Ii ◽  
Social Action ◽  
World War ◽  
Disciplinary History ◽  
Scientific Status ◽  
War Effort ◽  
History Of ◽  
The 1960S ◽  
First Time ◽  
Made In

This is an article about the history of US sociology with systematic intent. It goes back to World War II to recover a wartime narrative context through which sociologists formulated a ‘trauma’ to the discipline and ‘blamed’ qualitative and values-oriented research for damaging the scientific status of sociology. This narrative documents a discussion of the changes that sociologists said needed to be made in sociology as a science to repair its status and reputation. While debates among sociologists about theory and method had always been contentious, the wartime narrative insisted for the first time that sociology be immediately unified around quantitative approaches. The narrative of ‘good’ and ‘bad’ science that developed during the war not only undermined the efforts of social interactionists to theorize social action and social justice, but also derailed Parsons’ pre-war effort to bridge differences. The moral coding that is the legacy of the narrative stigmatized important approaches to sociology, leading to a ‘crisis’ in the 1960s that still haunts the discipline. Disciplinary history has overlooked the wartime narrative with the result that the role played by World War II in effecting this crisis has gone unrecognized.

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