Bond Girls: Body, Fashion and Gender, Monica Germanà (2020)

Film Matters ◽  
2021 ◽  
Vol 12 (2) ◽  
pp. 137-138
Author(s):  
Caroline Arden
Keyword(s):  

Review of: Bond Girls: Body, Fashion and Gender, Monica Germanà (2020) London: Bloomsbury Visual Arts, 264pp., ISBN-10: 0857855328 (pbk), $34.95, ISBN-10: 085785643X (hbk), $76.22

2009 ◽  
Vol 27 (1) ◽  
pp. 65-92
Author(s):  
Susan Jones

This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.


2021 ◽  
pp. 003329412110268
Author(s):  
Vaitsa Giannouli ◽  
Juliana Yordanova ◽  
Vasil Kolev

Research on aesthetic descriptors of art in different languages is scarce. The aim of the present study was to elucidate the conceptual structure of aesthetic experiences of three forms of art (music, visual arts and literature) in the Greek language, which has not been explored so far. It was further aimed to study if biological and cognitive factors such as age and gender might produce differences in art appreciation. A total of 467 younger and older individuals from Greece were asked to generate verbal descriptors (adjectives) in free word-listing conditions in order to collect terms reflecting the aesthetics-related semantic field of art. The capacity of verbal memory was controlled by using a battery of neuropsychological tests. Analysis of generated adjectives’ frequency and salience revealed that ‘beautiful’ was the most prominent descriptor that was selected with a distinctive primacy for all three forms of arts. The primacy of ‘beautiful’ was significantly more pronounced for visual arts relative to music and literature. Although the aging-related decline of verbal capacity was similar for males and females, the primacy of ‘beautiful’ depended on age and gender by being more emphasized for young females than males, and for old males than females. Analysis of secondary descriptors and pairs of adjectives revealed that affective and hedonic experiences are essentially fixed in the semantic field of art reflection. It is concluded that although the concept of the aesthetics seems to be diversified and rich, a clear primacy of beauty is found for the Greek cultural environment and across different forms of art. The results also highlight the presence of complex influences of biological and cognitive factors on aesthetic art experiences.


Author(s):  
John Timberman Newcomb

This chapter examines the little magazines' shift to a poetry of modern life between 1910 and 1925 by discarding long-standing generic strictures of style and subject matter in favor of themes dealing with the industrialized metropolis. Soon after 1910, many poets such as T. S. Eliot, Claude McKay, and Carl Sandburg began to write verses about life in the modern city. This turn toward urban subject matter marked a decisive change in American poetry's relationship to modernity and an epochal departure from national traditions. This chapter considers the integral connection between verse and the visual arts as many American poets focused on investigating urban modernity as a subject. It also discusses the different ways that these poets learned to represent the machine-age metropolis after 1910 and challenged the aesthetic and ideological verities of class, ethnicity, and gender underlying their romantic-genteel inheritance; acts of observation in American cityscape verse that operate at both microscopic and panoramic levels; and poems of gutters, street pavements, and skylines that are complementary within an emerging poetics of urban materiality.


2020 ◽  
pp. 99-108
Author(s):  
Tamara Rostovskayа ◽  
Alexsander Egorychev ◽  
Svyatoslav Gulyaev

Author(s):  
Carlos Antonio Fernandes

A adaptação de obras literárias em outros gêneros do discurso acontece com certa frequência, tanto na literatura estrangeira, bem como na literatura brasileira. Neste artigo, iremos analisar uma adaptação da obra Triste Fim de Policarpo Quaresma, de Lima Barreto, ainda numa linguagem inovadora, que é a obra romanceada em forma de HQ. Para compor a narrativa, os quadrinistas César Lobo, responsável pelo roteiro e desenhos, e Luiz Antônio Aguiar, adaptação e roteiro, recriaram-na não só por meio da linguagem verbal, mas também pelas técnicas quadrinísticas, como enquadramentos e cores, produzindo os efeitos de sentido desejados. O suporte teórico para desenvolvermos o trabalho será o da Análise do Discurso, especificamente, a Teoria Semiolinguística.AbstractIn this paper, we analyze an adaptation of the work Sad End of Policarpo Quaresma, Lima Barreto, in graphic novel form.Whereas the graphic novel genre appropriates techniques of various genres: literary novel, film, photography and visual arts, we demonstrate that such appropriation worked as a strategy to produce the desired effects of meaning and capture the children and youth whom the work is intended. That said, our objective was to enhance the Graphic Novel genre as relevant to teaching and cultural background of the intended audience. The theoretical support that was used by the Framework Comunicacional Charaudeau (2008), analysis of images and colors, with Guimarães (2000) theory of fictionality, effects of real and gender, according to Mendes (2008) and on the comics with Costa (2013) and Vergueiro (2012).


Author(s):  
Sydney Hutchinson

Merengue is widely recognized as the national music of the Dominican Republic, its most popular and best-known export. In the twentieth century, merengue split into different genres, catering to different social groups: the orquesta merengue, centered around wind and brass instruments, and the accordion-based merengue típico. This chapter examines how the accordion is played in Dominican merengue típic. It outlines historical and contemporary meanings of the accordion as related to class, ethnicity, and gender, suggesting that the instrument often embodies Dominicans' changing ideas about themselves. To construct this argument, it relies on newspaper articles, scholarly and lay histories, the visual arts, interviews with practitioners, and the author's own fieldwork conducted among típico musicians in New York City and Santiago, the Dominican Republic's second-largest city and center of the Cibao, since 2001 and 2004, respectively.


Author(s):  
Jessica Cox

This chapter explores the character of Bertha Mason as a significant obstacle to writers and artists seeking to adapt Jane Eyre: to treat her in the same manner as Charlotte Brontë is to replicate her degradation on the grounds of sex and gender, race and ethnicity, and dis/ability. Focused upon portrayals of her appearance, madness and death, this chapter charts the evolution and variation of Bertha’s character from the nineteenth to the twenty-first century, tracing the impact of feminist and postcolonial theorising upon creative engagements with Brontë’s novel. Encompassing a wide variety of adaptations across different media, including Young Adult and neo-Victorian fictions, film, television, theatre and the visual arts, it argues that recreations of Bertha point to an ongoing desire to recover this character from the margins of Brontë’s novel.


2008 ◽  
Vol 18 (3) ◽  
pp. 327-340 ◽  
Author(s):  
ALI ANOOSHAHR

There has appeared a new trend in recent scholarship on the early modern Islamic world that analyzes the role of gender and sexuality in society and culture. Ruby Lal and Rosalind O'Hanlon have investigated women and gender roles in the sixteenth-century Mughal harem and the broader imperial court respectively. Mehmed Kalpaklı, Walter Andrews, and Khaled El-Rouayheb have studied the nature or the implications of sexual relationship among men in Istanbul as well as the Arab provinces of the Ottoman Empire. Kathryn Babayan and Afsaneh Najmabadi have read Safavid and Qajar literature and visual arts through the lens of gender and power politics. Together these scholars have successfully highlighted the relevance of this methodology particularly in its application to the narrative sources that comprise the bulk of our documentations for the period (except for the Ottoman case of course), and it is to subject to such an approach a brief, but crucial, period in early Mughal history and historiography that the present article now proceeds.


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