Counter-visualizing Ireland: Redmondite Home Rule in Sinn Féin’s Editorial Cartoons

2020 ◽  
Vol 3 (2) ◽  
pp. 75-90
Author(s):  
Mathew Staunton
Keyword(s):  
Visual Culture ◽  
Financial Support ◽  
Visual Representations ◽  
Nation Building ◽  
Status Quo ◽  
Home Rule ◽  
Sinn Fein ◽  
Editorial Cartoons

This article explores the efforts of the Sinn Féin activists in Arthur Griffith’s circle to define Irish citizenship as an active, nation-building duty rather than the relatively passive electoral and financial support demanded by the Irish Parliamentary Party in the period 1909-11. As the success of the IPP's Westminster strategy became increasingly harder to ignore, illustrator and designer Austin Molloy counter-attacked for Sinn Féin with dramatic visual representations of John Redmond as a naïve and bumbling shyster maintaining power and generating operational funds by making outlandish promises while being manipulated by more seasoned British parliamentarians. Focusing on key propaganda images from the period via the critical visual culture framework established by Nicholas Mirzoeff, I will consider the work of Molloy and Griffith as a concerted 'counter-visualisation' of the mainstream status quo visualised and promoted by the IPP.

Migration, Gender and Visual Culture:

MedienJournal ◽  
2017 ◽  
Vol 37 (3) ◽  
pp. 32-44 ◽  
Author(s):  
Ksenija Vidmar Horvat
Keyword(s):  
Cultural Studies ◽  
Visual Culture ◽  
Critical Angle ◽  
Visual Representations ◽  
Public Culture ◽  
Migration Studies ◽  
New Paradigm ◽  
Current Field ◽  
Shared Interest ◽  
European Migration

 This paper investigates visual representations of migrants in Slovenia. The focus is on immigrant groups from China and Thailand and the construction of their ‘ethnic’ presence in postsocialist public culture. The aim of the paper is to provide a critical angle on the current field of cultural studies as well as on European migration studies. The author argues that both fields can find a shared interest in mutual theoretical and critical collaboration; but what the two traditions also need, is to reconceptualize the terrain of investigation of Europe which will be methodologically reorganized as a post- 1989 and post-westernocentric. Examination of migration in postsocialism may be an important step in drawing the new paradigm.

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2017 ◽  
Author(s):  
Magda Szcześniak ◽  
Łukasz Zaremba
Keyword(s):  
Visual Culture ◽  
Visual Representations ◽  
Avant Garde ◽  
Polish Culture

A chapter from the book Kultura wizualna w Polsce. Spojrzenia [Visual Culture in Poland. Looks], ed. Iwona Kurz, Paulina Kwiatkowska, Magda Szcześniak, Łukasz Zaremba (Fundacja Bęc Zmiana, Instytut Kultury Polskiej UW: Warsaw, 2017). The essay is devoted to protest imagery in Polish culture - from avant-garde painting to contemporary, vernacular visual representations used during protests.

scholarly journals UKRAINIAN LANGUAGE AND IDENTITY OF THE SOCIAL AND ECONOMIC ELITE OF UKRAINE (THE LATE 19 – EARLY 20TH CC.)

2017 ◽  
pp. 17-22
Author(s):  
O. Kazakevych
Keyword(s):  
National Identity ◽  
Financial Support ◽  
Nation Building ◽  
Language And Identity ◽  
Upper Class ◽  
Scientific Society ◽  
Geographical Society ◽  
Economic Elite ◽  
The Social ◽  
Ukrainian Society

The article discusses the problem of national identity and linguistic consciousness of the Ukrainian social and economic elite in turn of the 19-20 cc. In contrast to the widespread opinion, the author states that a lot of the Ukrainian entrepreneurs and rich landowners were deeply involved in the process of the Ukrainian nation building. They shared the Ukrainian identity and promoted the usage of the Ukrainian language. Some of them, including O. Alchevskyi, V. Symyrenko, E. Miloradovych, H. Galagan, E. Chykalenko, belonged to the upper class of the Ukrainian society and invested large sums of money into the development of the Ukrainian studies and teaching in Ukrainian language in both Russian and Austro-Hungarian empires. Their financial support potentiated the activity of Ukrainian research, literary and artistic societies, including the Kyiv Hromada, Prosvita, South-Western branch of the Russian Geographical society, Shevchenko Scientific Society, publishing the Ukrainian journals and newspapers “Osnova”, “Kievskaya Starina”, “Hromada”, “Literaturno-naukovyi visnyk”, “Hromadska dumka”, “Rada” etc. In conclusion it is stated that during the late 19 – early 20th cc. the financial support provided by the social and economic elite was critically important for the formation of the modern Ukrainian nation.

Ideologies of Gender on Television in India

2002 ◽  
Vol 9 (1) ◽  
pp. 1-26 ◽  
Author(s):  
Divya C. Mcmillin
Keyword(s):  
Narrative Analysis ◽  
Nation Building ◽  
Critical Discussion ◽  
Status Quo ◽  
Female Leadership ◽  
Prime Time ◽  
Analysis Method ◽  
National Network ◽  
Content Analyses ◽  
The Status

Content analyses of Indian television programmes on the national network Doordarshan in the 1980s have shown that prime-time shows cast women as docile homemakers and as objects of male desire. This paper uses a critical postcolonial theoretical framework and narrative analysis method to detect ideologies of gender from programmes randomly selected from a month's menu of the transnational, national and regional television networks in the country. A broad conclusion is that Indian television in the late 1990s perpetuates, across channels, the 1980s' stereotypical images of women, images that have their roots in Vedic, colonial, and nationalist literature. The status quo is explained through a critical discussion of the framing of 'woman' in colonial and postcolonial nation-building efforts. The paper also points to the emerging genre of hybrid programming, where the greater incidence of female veejays and talk show hosts paves the way for the expression of female leadership and desire, and leads to more positive television portrayals of women in the 21st century.

scholarly journals Jesuit Winemaking and Art Production in Northern New Spain

2019 ◽  
Vol 6 (2) ◽  
pp. 294-314
Author(s):  
Katherine Moore McAllen
Keyword(s):  
Visual Culture ◽  
Mexico City ◽  
Financial Support ◽  
New Spain ◽  
Ignatian Spirituality ◽  
Art Production ◽  
New Research ◽  
Northern New Spain ◽  
Santa Maria ◽  
Important Site

This article presents new research on Jesuit visual culture in northern New Spain, situating Santa María de las Parras (founded 1598) as an important site where the Jesuits and secular landowners became involved in the lucrative business of winemaking. Viticulture in Parras helped transform this mission settlement into a thriving center of consumption. The Jesuits fostered alliances with Spanish and Tlaxcalan Indians to serve their religious and temporal interests, as these patrons donated funds to decorate chapels in the Jesuit church of San Ignacio. This financial support allowed the Society to purchase paintings by prominent artists in Mexico City and import them to Parras. The Jesuits arranged their chapels in a carefully ordered sequencing of images that promoted Ignatian spirituality and echoed iconographic decoration programs in Mexico City and Rome.

Blistered and Bleeding, Tired and Determined: Visual Representations of Children and Youth in the Miles for Millions Walkathon1

2012 ◽  
Vol 22 (1) ◽  
pp. 245-275 ◽  
Author(s):  
Tamara Myers
Keyword(s):  
Visual Culture ◽  
International Development ◽  
Social History ◽  
Third World ◽  
Visual Representations ◽  
Children And Youth ◽  
Cultural Objects ◽  
Canadian Youth ◽  
The Social ◽  
History Of

This article examines images of children and youth taken in connection with the Miles for Millions walkathon, a wildly popular charity event in 1960s and 70s Canada. It argues that as cultural objects, images of children accomplished several things: they delivered potent messages about the country’s present and future, mobilized adults around Canada’s relatively new role in international development, and reassured the nation that the kids were all right. Images of Canadian youth were used alongside those of the sentimentalized, racialized Third World child, a juxtaposition that ultimately helped spark enthusiasm for the walkathon and engender a consciousness among Canadian youth of their own able-bodiedness. The visual culture of the Miles for Millions provides an excellent example of the ‘knowing child’ and of the popular contemporary style of representing children ‘in their own worlds.’ While focused on the semiotics of the Miles for Millions pictorial, this article also explores the possibility of reading the images of youth for what they can tell us about the social history of the event.

scholarly journals Indigenous Shôjo

2020 ◽  
Vol 1 ◽  
pp. 138-168
Author(s):  
Christina Spiker
Keyword(s):  
Popular Culture ◽  
Visual Culture ◽  
Significant Role ◽  
Visual Representations ◽  
Visual Language ◽  
Indigenous Culture ◽  
Indigenous Activism ◽  
Media Mix ◽  
Scholarly Attention

Little scholarly attention has been given to the visual representations of the Ainu people in popular culture, even though media images have a significant role in forging stereotypes of indigeneity. This article investigates the role of representation in creating an accessible version of indigenous culture repackaged for Japanese audiences. Before the recent mainstream success of manga/anime Golden Kamuy (2014–), two female heroines from the arcade fighting game Samurai Spirits (Samurai supirittsu)—Nakoruru and her sister Rimururu—formed a dominant expression of Ainu identity in visual culture beginning in the mid-1990s. Working through the in-game representation of Nakoruru in addition to her larger mediation in the anime media mix, this article explores the tensions embodied in her character. While Nakoruru is framed as indigenous, her body is simultaneously represented in the visual language of the Japanese shôjo, or “young girl.” This duality to her fetishized image cannot be reconciled and is critical to creating a version of indigenous femininity that Japanese audiences could easily consume. This paper historicizes various representations of indigenous Otherness against the backdrop of Japanese racism and indigenous activism in the late 1990s and early 2000s by analyzing Nakoruru’s official representation in the game franchise, including her appearance in a 2001 OVA, alongside fan interpretations of these characters in self-published comics (dôjinshi) criticized by Ainu scholar Chupuchisekor.

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