scholarly journals Ceramic Murals in the 1960s: Intersection between the Synthesis of the Arts and Tradition Debates in Architecture

2019 ◽  
Vol null (53) ◽  
pp. 103-122
Author(s):  
조현정
Keyword(s):  
The Arts ◽  
The 1960S

Christian Feminist Theology and the Arts

2021 ◽  
Author(s):  
Elizabeth Ursic
Keyword(s):  
Performing Arts ◽  
Feminist Theology ◽  
Christian Theology ◽  
Female Leaders ◽  
Christian Women ◽  
The Bible ◽  
Inclusive Language ◽  
The Arts ◽  
In Christ ◽  
The 1960S

Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith. Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.

scholarly journals The Boundaries of Language: Dealing with Paralinguistic Features

2012 ◽  
Vol 54 (2) ◽  
pp. 37-54 ◽  
Author(s):  
Maciej Karpiński
Keyword(s):  
Significant Progress ◽  
Speech Technology ◽  
Flexible Approach ◽  
Speech Prosody ◽  
Arts And Sciences ◽  
The Arts ◽  
Gesture Analysis ◽  
The 1960S ◽  
Consistent Approach ◽  
New System

ABSTRACT Maciej Karpiński. The Boundaries of Language: Dealing with Paralinguistic Features. Lingua Posnaniensis, vol. LIV (2)/2012. The Poznań Society for the Advancement of the Arts and Sciences. PL ISSN 0079-4740, ISBN 978-83-7654-252-2, pp. 37-54. The paralinguistic component of communication attracted a great deal of attention from contemporary linguists in the 1960s. The seminal works written then by Trager, Crystal and others had a powerful influence on the concept of paralanguage that lasted for many years. But, with the focus shifting towards the socio-psychological context of communication in the 1970s, the development of spoken corpora and databases and the significant progress in speech technology in the 1980s and 1990s, the need has arisen for a more comprehensive, coherent and formalised - but also flexible - approach to paralinguistic features. This study advances some preliminary proposals for a revised treatment of paralanguage that would meet some of these requirements and provide a conceptual basis for a new system of annotation for paralinguistic features. A range of views on paralinguistic features, which come mostly from the fields of speech prosody and gesture analysis, are briefly discussed. A number of assumptions and postulates are formulated to allow for a more consistent approach to paralinguistic features. The study suggests that there should be more reliance on continua than on binary categorisations of features, that multi-functionality and multimodality should be fully acknowledged and that clear distinctions should be made among the levels of description, and between the properties of speakers and the speech signal itself.

scholarly journals This Kinetic World: Rethinking the Grid (Neo-Baroque Calls)

2017 ◽  
Vol 3 (1) ◽  
pp. 285
Author(s):  
Lara D. Nielsen
Keyword(s):  
Cultural Practices ◽  
Linear Perspective ◽  
Port Cities ◽  
Control Society ◽  
The Arts ◽  
The 1960S ◽  
Performance Research

In performance research today, as in the 1960s, the pressing question is: how to do things with systems. I return to the grid to attend both sites and modes of cultural practices and techniques� (technologies) that so powerfully harness and transform the control society.� My approach to the grid as dispositif seeks to open familiar dialogues, about variants of subjectivity and presence, to the materialities and devices of systems, structures, and bureaucratic operations. As seeing machine, the grid�s story includes linear perspective, geometricization, and fugitivity. Defined by consistency and contradition, by optics, haptics, and cybernetics, I identify grid logics with the neo-baroque. Exploring the grid through tiling, weaving, seafaring, and curating techniques that link the administrative and the algorithmic state, I discuss the arts of two architectural sites in the port cities of Cartagena, Colombia and Singapore.

Wertham’s Little Goblins

2017 ◽  
Author(s):  
Brian Cremins
Keyword(s):  
United States ◽  
Comic Books ◽  
Comic Book ◽  
The United States ◽  
Childhood Memories ◽  
The Arts ◽  
Comics Studies ◽  
Recent Developments ◽  
History Of ◽  
The 1960S

After Fawcett’s legal settlement with National in 1953, the original Captain Marvel did not return to comic books until 1973. In the meantime, comic book fans and amateur historians began writing about the character in the 1960s. This chapter traces Captain Marvel’s afterlife in these fanzines, publications that helped to establish the foundation for comics studies in the United States. The chapter also includes an overview of recent developments in the field of memory and nostalgia studies. These recent studies of the history of nostalgia in medicine, psychology, and the arts are essential for an understanding of how childhood memories have shaped comics studies as a discipline.

Epilogue

2020 ◽  
pp. 289-316
Author(s):  
Robert Kelz
Keyword(s):  
Buenos Aires ◽  
Drama Theory ◽  
The Arts ◽  
German Speaking ◽  
The 1960S ◽  
The Impact ◽  
Migrant Groups

This concluding chapter takes a look at the German theaters of Argentina between the 1930s and the 1960s. During this time, Buenos Aires was a volatile, conflict-ridden place which allowed both antifascist and nationalist German blocs to cultivate intercultural alliances without modifying many aspects of their own political platform. Here, the chapter revisits the themes introduced in this volume by linking them to a more poignantly profiled reflection on the salient themes of this study, including inclusion and exclusion, integration, transnationalism, drama theory, theatrical energies, and, of course, competition. The central role of theater enables a reexamination of German-speaking immigrants in Argentina, emphasizing previously underexplored events and individuals while offering new perspectives on more frequently studied topics. The chapter thus depicts the impact of theater on existing narratives about Germans in Argentina, as well as the power of a focus on culture and the arts to inform and shape studies of migrant groups.

scholarly journals So Easy to See: Muriel Rukeyser and Berenice Abbott’s unfinished collaboration

2019 ◽  
Vol 28 (1) ◽  
pp. 87-105
Author(s):  
Rowena Kennedy-Epstein
Keyword(s):  
Atomic Bomb ◽  
Social Progress ◽  
Disciplinary Boundaries ◽  
Science And Art ◽  
The Arts ◽  
Scientific Experts ◽  
Muriel Rukeyser ◽  
Lost Potential ◽  
The 1960S ◽  
The Relationship

This essay reassembles from archival materials the lost collaboration between Muriel Rukeyser and Berenice Abbott, So Easy to See, which pairs Abbott’s innovative Super-Sight photographs with Rukeyser’s poetic-theoretical discussions of ‘seeing’ in order to discuss lesbian desire, the atomic bomb, the relationship between art and science, and female genius. The work was repeatedly rejected by male editors and curators, who demeaned and undervalued the innovative nature of the project, in part because Abbott and Rukeyser dared to assert themselves as scientific experts; nevertheless, it is an intellectually rich and artistically innovative collaboration by two of the twentieth century’s most versatile artists. From the early 1940s through the 1960s, in a period in the U.S. defined by the elevation of the sciences over the arts, they shared a similar goal: to develop new methods for demonstrating the uses of and relationships between the arts and the sciences. Through their collaboration, Rukeyser and Abbott worked against accepted gendered and disciplinary boundaries, in order to show how ‘science and art meet and might meet in our time’ as sources of imaginative possibility and social progress. In doing so, they engendered questions about what kinds of collaborative and artistic practices are sanctioned, about the ontology of things and the everyday, about materialist philosophy and about the radical possibilities of interdisciplinarity. By making visible this lost collaboration, this essay participates in the recovery of an innovative and exciting modernist collaboration, and asks us to see both the lost potential of its inventiveness as well as to contextualise its disappearance. In order to see their work on ‘seeing’, we must also undertake an exploration into the cultural mechanisms that obfuscated it at mid-century.

1960s Africa in Historical Perspective

2011 ◽  
Vol 43 (1) ◽  
pp. 3-10 ◽  
Author(s):  
Benjamin Talton
Keyword(s):  
Economic Development ◽  
Popular Culture ◽  
Analytical Model ◽  
Historical Perspective ◽  
African Descent ◽  
Political Corruption ◽  
National Politics ◽  
The Arts ◽  
Economic Underdevelopment ◽  
The 1960S

Scholars and other commentators have largely characterized the histories of African nations in terms of failed states, economic underdevelopment, political corruption, and civil war. This introduction and the articles that follow demonstrate the utility of breaking out of the mold of measuring African “successes” and “failures” in terms of national politics and economics, without due consideration of local political histories, popular culture, and the arts, which offer a dramatically different view of Africa’s and Africans’ influences and success within the continent and on the global stage. Toward that end, this introductory essay advocates mitigating the standard analytical model through close studies of relationships between Africans and people of African descent in which politics and economic “development” are placed alongside the arts, popular culture, and sports, with a particular emphasis on the critical decade of the 1960s as central to shaping the course of “postcolonial” African histories.

scholarly journals To Mohassess, For the Wall

ARTMargins ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 127-136
Author(s):  
Jalal Al-e Ahmad
Keyword(s):  
The West ◽  
Cultural Policies ◽  
Iranian Art ◽  
The Arts ◽  
Cultural Alienation ◽  
Cultural Processes ◽  
The 1960S

Abstract “To Mohassess, For the Wall” is an article written in 1964 by Jalal Al-e Ahmad, one of the most influential and charismatic Iranian intellectuals of the time. Three years before writing this article, Al-e Ahmad had published Weststruckness, discussing the Iranians’ cultural alienation caused by the dependence on the west. In “To Mohassess, For the Wall”, Al-e Ahmad shifts his analysis to Iranian painting, arguing that Iranian painters during the 1960s merely repeat Western cultural processes and strategies instead of constructing Iranian ones. The context for Al-e Ahmad's argument is the Pahlavi regime's radical program of rapid modernization, which in the area of the arts was systematically expanded. Critical, provocative or problematic, the article offers a crucial window into the adoption of Western-style modernism by Iranian painters during the 1960s and into how an “insider” intellectual such as Al-e Ahmad evaluated the modernization of Iranian art before the background of what he perceived as the critical neglect of Iranian traditions. The text is addressed to Bahman Mohassess, a painter whom Al-e Ahmad considered to be one of the few who had not been coopted by the cultural policies of the Shah's regime.

The Soviet Nationalities Collection at Columbia University

Slavic Review ◽  
1987 ◽  
Vol 46 (2) ◽  
pp. 292-293
Author(s):  
Susan Cook Summer
Keyword(s):  
Soviet Union ◽  
Columbia University ◽  
European Language ◽  
Interlibrary Loan ◽  
Slavic Languages ◽  
Language Groups ◽  
The Arts ◽  
The Soviet Union ◽  
Language And Literature ◽  
The 1960S

The Soviet Nationalities Collection at Columbia University is one of the largest and most varied collections of its kind in the nation. Established in the 1960s, it now numbers more than 15,000 volumes in forty-seven different languages from the Altaic, Transcaucasian, Uralic, Paleo-Siberian, and Indo-European language groups. It grows at a rate of about 500 books a year.The collection supports instruction and research in fields including language and literature, political science, economics, history, folklore, religion and philosophy, and the arts. Although not cataloged until recently, the collection has long been used by scholars from research centers at Columbia, such as the Harriman Institute for the Advanced Study of the Soviet Union, the Center for the Study of Central Asia, the Program on Soviet Nationality Problems, and the Department of Slavic Languages. Its reputation growing by word-of-mouth, the collection has also attracted visiting scholars and requests through interlibrary loan.

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