Cristóbal Balenciaga. Explorations in Traditional Spanish Aesthetics

Costume ◽  
2019 ◽  
Vol 53 (2) ◽  
pp. 161-185
Author(s):  
Ana Balda Arana
Keyword(s):  
Creative Process ◽  
Cultural Context ◽  
Country Of Origin ◽  
Anglo Saxon ◽  
Doctoral Thesis ◽  
The Subject ◽  
The 1950S ◽  
Religious Iconography

This article investigates how the traditional attire and religious iconography of Cristóbal Balenciaga's (1895–1972) country of origin inspired his designs. The arguments presented here build on what has already been established on the subject, provide new data regarding the cultural context that informed the couturier's creative process (with which the Anglo-Saxon world is less familiar) and conclude by investigating the reasons and timing of his exploration of these fields. They suggest why this Spanish influence is present in his innovations in the 1950s and 1960s and go beyond clichéd interpretations of the ruffles of flamenco dress and bullfighters’ jackets. The findings derive from research for the author's doctoral thesis and her curatorial contribution to the exhibition Coal and Velvet. Balenciaga and Ortiz Echagüe. Views on the Popular Costume (Balenciaga Museum, Getaria, Spain, 7 October 2016–7 May 2017).

Voicing the Soviet Experience

2003 ◽  
Author(s):  
Katharine Hodgson
Keyword(s):  
Cultural Context ◽  
Lyric Poetry ◽  
Personal Integrity ◽  
Stalin Era ◽  
The Subject ◽  
The 1950S ◽  
Conflicting Discourses ◽  
Soviet Experience

This book is an examination of a poet whose career offers a case study in the complexities facing Soviet writers in the Stalin era. Ol′ga Berggol′ts (1910–1975) was a prominent Russian Soviet poet, whose accounts of heroism in wartime Leningrad brought her fame. This book addresses her position as a writer whose Party loyalties were frequently in conflict with the demands of artistic and personal integrity. Writers who pursued their careers under the restrictions of the Stalin era have been categorized as ‘official’ figures whose work is assumed to be drab, inept and opportunistic; but such assumptions impose a uniformity on the work of Soviet writers that the censors and the Writers Union could not achieve. An exploration of Berggol′ts's work shows that the borders between ‘official’ and ‘unofficial’ literature were in fact permeable and shifting. This book draws on unpublished sources such as diaries and notebooks to reveal the range and scope of her work, and to show how conflict and ambiguity functioned as a creative structuring principle. The text discusses how Berggol′ts's lyric poetry constructs the subject from multiple, conflicting discourses, and examines the poet's treatment of genres such as narrative verse, verse tragedy and prose in the changing cultural context of the 1950s. Berggol′ts's use of inter-textual, and especially intra-textual, reference is also investigated; the intensively self-referential nature of her work creates a web of allusion that connects texts of different genres, ‘official’ as well as ‘unofficial’ writing.

scholarly journals Fantastyka naukowa w polskim piśmiennictwie krytycznofilmowym przełomu lat pięćdziesiątych i sześćdziesiątych XX wieku

2021 ◽  
Vol 28 (37) ◽  
pp. 99-125
Author(s):  
Robert Dudziński
Keyword(s):  
Science Fiction ◽  
Cultural Context ◽  
The Third ◽  
The Subject ◽  
Science Fiction Films ◽  
The 1950S

The article is devoted to the Polish reception of science-fiction cinema; the statements of film critics from 1956–1965 were analysed. During this period, science fiction, previously absent from the screens of Polish cinemas for ideological and censorship reasons, returned to the repertoire and became the subject of press discussions and reviews. The analysis of articles devoted to this genre and published at the time allows reconstruction of the cultural context in which science-fiction productions operated. The article consists of three main parts. In the first of these, the author describes which science fiction films were present in Polish cinemas at the turn of the 1950s and 1960s. In the second part, he analyses press statements devoted to the history and aesthetics of the genre. The subject under consideration in the third part is the reception of two productions, which at the time enjoyed the greatest interest from contemporary critics: Godzilla (Gojira, 1954, dir. Ishirō Honda) and The Silent Star (Der schweigende Stern 1960, dir. Kurt Maetzig).

scholarly journals Engaging the “Animal Question” in International Relations

2020 ◽  
Author(s):  
Tore Fougner
Keyword(s):  
International Relations ◽  
Subject Matter ◽  
Cultural Context ◽  
The Subject ◽  
Human Animal ◽  
Animal Question

Abstract By raising the “animal question” in International Relations (IR), this essay seeks to contribute not only to put animals and human–animal relations on the IR agenda, but also to move the field in a less anthropocentric and non-speciesist direction. More specifically, the essay does three things: First, it makes animals visible within some of the main empirical realms conventionally treated as the subject matter of IR. Second, it reflects on IR's neglect of animals and human–animal relations in relation to both how IR has been constituted as a field and the broader socio-cultural context in which it is embedded. Third, it explores various ways in which IR scholars can start incorporating and take animals and human–animal relations seriously in studies on international relations.

In Search of a Radical Discourse for Theatre

1992 ◽  
Vol 8 (29) ◽  
pp. 34-47 ◽  
Author(s):  
Dorrian Lambley
Keyword(s):  
Social Change ◽  
Social Relations ◽  
Political Ideology ◽  
Doctoral Thesis ◽  
The Subject ◽  
The University

How to accommodate and utilize the insights and the methodology of marxism – and, simply, its potential as a vehicle for social change – at a time when the popular perception of its political ideology stands discredited? Dorrian Lambley explores the dilemma through the specifics of developments in British theatre since 1968 – the stifling of the early radical impulses under political and economic pressures, which has produced, at best, a sense of marginalization, at worst a conviction of impotence. In proposing ways of working within this situation, Lambley draws on the writings of dramatists such as Edward Bond to suggest that marxism must recognize the most important of the liberal humanist emphases – ‘the presence of the subject’, but perceived within a marxist understanding of social relations. Dorrian Lambley is presently working on her doctoral thesis in the University of Exeter, where she helped to organize the conference ‘Theatre and the Discourses of Power’, on which she wrote in the ‘Reports and Announcements’ section of NTQ28 (1991).

The pragmatics of humor reception: Young people's responses to a newspaper cartoon

2011 ◽  
Vol 24 (1) ◽  
Author(s):  
Elisabeth El Refaie
Keyword(s):  
Cultural Context ◽  
Background Knowledge ◽  
Gay Marriage ◽  
Daily Mail ◽  
Humor Appreciation ◽  
The Subject ◽  
Sense Of Identity ◽  
The Individual

AbstractThis paper uses the example of 25 young people's responses to a Daily Mail cartoon on the subject of gay marriage in order to explore the pragmatics of humor reception. The results indicate that the enjoyment of a multimodal joke depends to a large extent on the background knowledge, values and attitudes of the individual. If, for instance, a cartoon is too threatening to someone's core sense of identity, it is likely to create anger and alienation rather than amusement. Humor appreciation is also shown to depend on the broader socio-cultural context in which the cartoon is encountered.

The Anglian collection of royal genealogies and regnal lists

1976 ◽  
Vol 5 ◽  
pp. 23-50 ◽  
Author(s):  
David N. Dumville
Keyword(s):  
Old English ◽  
British Library ◽  
Anglo Saxon ◽  
Corpus Christi ◽  
History Of ◽  
The Subject

This collection of Old English royal records is found in four manuscripts: London, British Library, Cotton Vespasian B. vi; London, British Library, Cotton Tiberius B. v, vol. 1; Cambridge, Corpus Christi College 183; and Rochester, Cathedral Library, A. 3. 5. The present paper aims both to provide an accurate, accessible edition of the texts in the first three of these manuscripts and to discuss the development of the collection from its origin to the stages represented by the extant versions. We owe to Kenneth Sisam most of our knowledge of the history of the Anglo-Saxon genealogies. Although his closely argued discussion remains the basis for any approach to these sources, it lacks the essential aid to comprehension, the texts themselves. It is perhaps this omission, as much as the difficulty of the subject and the undoubted accuracy of many of his conclusions, that has occasioned the neglect from which the texts have suffered in recent years.

Життєтворчість Іллі Саца у вітчизняному культурному просторі початку ХХ століття

2019 ◽  
Vol 4 (36) ◽  
Author(s):  
O. Badalov
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Creative Activity ◽  
Analysis Method ◽  
Music Criticism ◽  
Comprehensive Understanding ◽  
Musical Life ◽  
Humanitarian Space ◽  
The Subject ◽  
Creative Life

The subject of the study is comprehensive understanding of the life and creativity by I. Sats – a significant figure in the national musical life of the early twentieth century.The purpose of the article is exploring the circumstances of I. Sats’ activity in the socio-cultural context of the era.The methodology of the article includes: historical and chronological method – for studying the events of the artist’s biography; source method – for research of archival materials, correspondence, reconstruction of composer’s creative life; hermeneutical analysis method – for interpretation of literary inheritance (libretto, music criticism) by I. Sats in the context of the early twentieth century; logic-generalization method – to summarize the results of the study.As a result of the research, a complex view on the multivectoral creative activity by I. Sats was formed, his significant role in the formation of new genres of musical and theatrical creativity, development of the humanitarian space of Chernihiv, Irkutsk, and Moscow was proved. The application of the results of the research in scientific, music-pedagogical and educational activities will significantly expand the established ideas about the development of the national musical culture.Key words: music for theater, Moscow Art Theater, satirical opera, I. Sats, Chernihiv region, Irkutsk music classes.

George Amabile on War, Trauma, the Creative Process, and His Latest Collection Martial Music

2021 ◽  
Vol 34 ◽  
pp. 175-179
Author(s):  
Liana Cusmano
Keyword(s):  
Creative Process ◽  
Daily Life ◽  
War Trauma ◽  
The Subject ◽  
The Way

Liana Cusmano’s interview with poet George Amabile focuses on his prize-winning 2018 collection Martial Music and the art of writing in general. He offers insights on the poetic process, how to research and produce a collection of poems. Amabile’s poetry is inspired by what he has experienced or witnessed. He talks about dealing with war and trauma. He shares his frustration with daily life getting in the way of the creative process. “Life is the subject and the inspirational/ motivational source of our work, but it also sucks up our time and frustrates our ability to give our unstinted attention to our creative efforts,” says George Amabile.

Moving still: Bicycles in Ranchhod Oza’s photographs of 1950s Stone Town (Zanzibar)

2020 ◽  
Vol 12 (2-3) ◽  
pp. 191-211
Author(s):  
Pamila Gupta
Keyword(s):  
Indian Ocean ◽  
Daily Life ◽  
Port City ◽  
The Subject ◽  
The 1950S ◽  
Stage Props

Stone Town’s busy streets in the 1950s became a set for photographer Ranchhod Oza, proprietor of Capital Art Studio (1930–83). I was aesthetically drawn to the numerous bicycles portrayed in these Zanzibari images, just as Oza had been at an earlier time and place. I am less interested in reading the subject of bicycles as simply a sign of Zanzibari modernity, an accoutrement that projects a fantasy of advancement via technological things. Instead, I focus on their ability to reflect various material aspects of daily life in Stone Town. Some bicycles carry people, others transport things, while still others appear as stage props, leaning up against walls while waiting (im)patiently for their owners to return. Yet in all these Oza images, they are moving still, ready to reach another chosen destination. What does the content of bicycles say about Oza’s photographic style? Can these bicycles potentially speak to Zanzibar’s placeness as a cosmopolitan Indian Ocean port city?

The Junius Psalter gloss: its historical and cultural context

2000 ◽  
Vol 29 ◽  
pp. 85-121 ◽  
Author(s):  
Mechthild Gretsch
Keyword(s):  
Old English ◽  
Cultural Context ◽  
Bodleian Library ◽  
Latin Text ◽  
Anglo Saxon ◽  
Christian Church ◽  
Benedictine Reform ◽  
The Individual

Oxford, Bodleian Library, Junius 27 (S.C. 5139), the Junius Psalter, was written, Latin text and Old English gloss, probably at Winchester and presumably during the reign of King Edward the Elder. Junius 27 is one of the twenty-nine complete or almost complete psalters written or owned in Anglo-Saxon England which have survived. (In addition to these twenty-nine complete psalters, eight minor fragments of further psalters are still extant.) This substantial number of surviving manuscripts and fragments is explained by the paramount importance of the psalms in the liturgy of the Christian church, both in mass and especially in Office. Junius 27 is also one of the ten psalters from Anglo-Saxon England bearing an interlinear Old English gloss to the entire psalter. (In addition there are two psalters with a substantial amount of glossing in Old English, though not full interlinear versions.) Since our concern in the first part of this article will be with the nature of the Old English glossing in the Junius Psalter, and its relationship to other glossed psalters, it is appropriate at the outset to provide a list of the psalters in question. At the beginning of each of the following items I give the siglum and the name by which the individual psalters are traditionally referred to by psalter scholars. An asterisk indicates that the Latin text is a Psalterium Romanum (the version in almost universal use in England before the Benedictine reform); unmarked manuscripts contain the Psalterium Gallicanum. For full descriptions of the manuscripts, see N. R. Ker, Catalogue of Manuscripts Containing Anglo-Saxon.

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