Designs for Living: Female Designers, the Designing Female, Modernism and the Middlebrow

2011 ◽  
Vol 6 (1) ◽  
pp. 155-177
Author(s):  
Chiara Briganti ◽  
Kathy Mezei
Keyword(s):  
Gender Roles ◽  
Interwar Period ◽  
The Other ◽  
Urban Modernity ◽  
Other Hand ◽  
Sexual Ambiguity

During the interwar period, the artistic endeavour of the female interior decorator was dismissed as old-fashioned, nostalgic, and, tainted by its association with commerce; it was excluded from the rarefied circle of the higher arts of painting and sculpture and architecture; in the novels and plays of middlebrow authors of the same period, on the other hand, the female interior decorator, mocked for her edgy modernity, became a disturbing icon of urban modernity and a controversial advocate for new designs in living. This essay proposes to demonstrate how the representation in fiction and drama of the interwar period of the female interior decorator, a magnet for anxieties about changing gender roles, class distinctions, sexuality and sexual ambiguity and the ‘sanctity’ of the home, complicates the complexity and mutability of the middlebrow and its fraught relationship with modernism.

scholarly journals Образ материнской любви в фильме Трясина Григория Чухрая*

2018 ◽  
Vol 166 ◽  
pp. 99-107
Author(s):  
Shino Maeda
Keyword(s):  
National Identity ◽  
Gender Roles ◽  
Reproductive Function ◽  
The Other ◽  
The Public ◽  
Other Hand ◽  
Female Image ◽  
Great Patriotic War ◽  
Soviet Russia ◽  
The Military

Image of maternal love in Grigory Chukhray’s The QuagmireMemories of the Great Patriotic War contributed to the making of a national identity in Soviet Russia, and clear gender roles are evident in Soviet propaganda war art. The image of male soldiers demonstrates the obligation to defend the fatherland against the outside enemy. On the other hand, there are images of a mother cheering for her son or a mother lamenting over a fallen soldier. It is clear that the female image belongs to the reproductive function of motherhood. The establishment presents an ideal and urges the public to internalize it by themselves. Grigory Chukhray’s film The Quagmire’s 1977 mother, however, hides her young son, who was conscripted to the front. The  film casts doubt on the Soviet war myth and asks “Why do mothers have to be reconciled to lose their sons in order to defend the fatherland?” That’s why the military purged the film from the screen. Obraz miłości macierzyńskiej w filmie Grigorija Czuchraja TrzęsawiskoWspomnienia i obrazy Wielkiej Wojny Ojczyźnianej odegrały ważną rolę w kształtowaniu tożsamości obywateli Rosji Radzieckiej. W sowieckiej propagandzie wojennej wyraźnie widać hierarchię genderową. Wizerunek żołnierza mężczyzny odnosi się do obowiązku obrony ojczyzny przed zewnętrznym wrogiem. Natomiast wizerunek matki wiwatującej na cześć zwycięstwa syna lub rodzicielki lamentującej nad poległym żołnierzem kojarzony jest z macierzyństwem. Film Grigorija Czuchraja Trzęsawisko Трясина opowiada historię matki ukrywającej powołanego do wojska i wezwanego na front syna. Film, który wkrótce po premierze wycofano z  dystrybucji, stawia pytania dotyczące funkcjonowania radzieckich mitów wojennych oraz sytuacji kobiet, które nie chcą się pogodzić ze śmiercią swych synów broniących ojczyzny.

scholarly journals Recenzja: J. Widacki, A. Szuba-Boroń, Sprawy o szpiegostwo przed sądami wileńskimi w okresie II RP. Przyczynek do historii zmagań polskiego wywiadu i kontrwywiadu z wywiadem sowieckim i litewskim, Kraków 2020, 208 s.

2021 ◽  
Vol 20 (1) ◽  
pp. 345-354
Author(s):  
Stanisław Hoc ◽  
Keyword(s):  
Interwar Period ◽  
The Other ◽  
Research Issues ◽  
Other Hand ◽  
Intelligence Services ◽  
The Subject

As so far, the research issues that J. Widacki and A. Szuba-Boroń became interested in have not been the subject of scientific interests. During the diplomatic mission in Vilnius, J. Widacki continued his scientific interests, reaching the files of espionage cases dated from the interwar period. On the other hand, A. Szuba-Boroń examined, inter alia, the files of espionage cases, dealing with the prose of Sergiusz Piasecki, the writer and former spy. The picture of a border, and in it the struggle of Soviet, Lithuanian and Polish intelligence services is undoubtedly an interesting background for research. The authors are aware of the research limitations, as they did not reach the cases tried in other Regional Courts, located in the territory of the then – Republic of Poland. They realistically estimate that finding and examining all of the criminal espionage cases pending before the courts of the Second Polish Republic seem to be impossible today. The undertaken research efforts are worth to be emphasized.

“A shadow crossed the tail of his eye”: The Reception of Virginia Woolf in Romania: Heritage Transformed

2018 ◽  
Author(s):  
Adriana Varga
Keyword(s):  
Interwar Period ◽  
Virginia Woolf ◽  
The Other ◽  
Eastern European ◽  
Henry George ◽  
Other Hand ◽  
Romanian Literature ◽  
Experimental Novel

Orlando becomes a woman in Constantinople, attempting to escape the unwanted affections of Archduke Harry disguised as Archduchess Harriet Griselda of Finster-Aarhorn and Scand-op-Boom. The character of the Archduke was inspired by Henry George Charles Lascelles, 6th Earl of Harewood, one of Vita Sackville-west’s early suitors. However, in Orlando, Archduchess Harriet, lust personified, is Romanian. Echoes of Romania are faint in Virginia Woolf’s fiction, essays, and diaries, much more so than references to other Eastern European and Balkan cultures, such as Greece or Russia. On the other hand, Woolf’s influence on Romanian literature, although very strong today, has been hardly studied. In this essay, I discuss the reception of Virginia Woolf in Romania during the interwar period, by looking at reviews and critical works published about Woolf’s works. I do this in order to delineate possible connections between Woolf and Romanian writers who were her contemporaries. Although it has been traditionally thought that cultural and literary connections were stronger between Romania and France or Romania and Germany, my research of periodicals and translations from this period shows that Woolf’s works were read and often discussed by Romanian critics and readers, and that her influence was much stronger than previously thought. Especially when considering the modernist experimental novel, several reviews published in Romania at this time show that Romanian critics recognized and were influenced by the originality and value of Woolf’s modernist experiment.

The Image of Woman in the Sintren and Kuda Kepang Arts: Gender Reality and Aesthetic Exploration

2022 ◽  
Vol 21 (2) ◽  
pp. 369-376
Author(s):  
Wahyu Lestari ◽  
Veronica Eny Iryanti ◽  
Syukur Samuel Barus
Keyword(s):  
Data Collection ◽  
Gender Roles ◽  
Gender Stereotypes ◽  
Research Data ◽  
Analysis Procedure ◽  
The Other ◽  
Other Hand ◽  
Collection Data ◽  
New Space ◽  
Adaptation Processes

The image of women that is actualized through the construction of gender roles, positions, and adaptation processes in artistic expression through Sintren and Kuda Kepang performances is very different. In this regard, the research aims to: (1) explain the forms of art performances of Sintren and Kuda Kepang; and (2) explain the image of women in the art performances of Sintren and Kuda Kepang in the context of gender reality and aesthetic exploration. The research was conducted on the art of Sintren Ujung Gede in Pemalang Regency and Kuda Kepang Turonggoseto in Semarang Regency. The research data were collected using the techniques of (1) observation, (2) interviews, and (3) document studies. The validity of the research data was carried out using the confirmability technique. The study used an interactive model analysis procedure, which was carried out with the stages of data collection, data reduction, data classification, and drawing conclusions. The results show that: (1) Sintren and Kuda Kepang arts are forms of traditional folk-art performances in which there is a scene of trance. This art is usually performed on stage or open arena by involving women as players; (2) The presence of women in the Sintren performances is a requirement that traditionally must be fulfilled until now. On the other hand, in the Kuda Kepang performances, the presence of women is a new phenomenon that provides opportunities and freedom for women to express themselves through dance. In the Sintren performance, the position of women becomes the center, subject, and object during the performance process. As a result, changes in the function of arts often result in the exploitation of Sintren dancers. On the other hand, in the Kuda Kepang art, the involvement of women with all their adaptations provides a new space for resistance to the existing gender stereotypes.

Geschlechterrollen und Homosexualität im Alten Testament

2020 ◽  
Vol 80 (3) ◽  
pp. 206-229
Author(s):  
Martin Leuenberger
Keyword(s):  
Gender Roles ◽  
Sexual Intercourse ◽  
The Other ◽  
Near Eastern ◽  
Other Hand ◽  
Explicit Statement ◽  
The One

Abstract After a few hermeneutical preliminaries reflecting on how to perceive ›homosexuality‹ appropriately in ancient contexts within the framework of gender roles, the exegetic contribution first casts an iconographic glance at two Ancient Near Eastern images. This background then helps to sharpen the contours of prominent OT texts: On the one hand, the narrative creation texts in Gen 1-3 elaborate two distinct models of human gender roles, both of which should be understood as fundamental anthropological and theological constructions and conceptualizations. On the other hand, it becomes clear that the only explicit statement on sexual intercourse between two men in Lev 18:22/20:13 represents a prescriptive parenesis seeking to ensure the transgenerational survival of the threatened Yahweh-community in the Persian province of Yehud. In both instances, the contexts and pragmatics of the texts are essential when asking about possible implications for understanding ›homosexuality‹.

The intelligentsia's two visions of urban modernity: Gómez's Caracas, 1908–35

Urban History ◽  
2001 ◽  
Vol 28 (1) ◽  
pp. 84-105 ◽  
Author(s):  
Arturo Almandoz
Keyword(s):  
The Other ◽  
Political Class ◽  
Urban Modernity ◽  
Other Hand ◽  
The Social ◽  
Literary Characters ◽  
The One

This article focuses on the disparity between two urban reports of the Gómez regime (1908–35). Relying on the theoretical platform provided by European positivism, there is, on the one hand, the erudite ideologists' justification of the material achievements of the dictatorship. On the other hand, there is the critique present in the literary characters of the works written by the young political class, where the parochialism of Caracas served as an excuse to attack the social abuses and cultural obscurity of one of Latin America's longest dictatorships.

Bunyan and Gender

2018 ◽  
Author(s):  
Margaret J. M. Ezell
Keyword(s):  
Gender Roles ◽  
Gender Issues ◽  
The Other ◽  
Human Relationship ◽  
Relationship With God ◽  
Life And Death ◽  
Other Hand ◽  
Gender Hierarchy ◽  
And Gender ◽  
The One

John Bunyan’s writings have traditionally invited critical readings focusing on gender issues. With the scholarly recovery of the writings of radical sectarian women during the 1650s and 1660s and renewed study of libertine sexuality in the Restoration, our understanding of Bunyan’s representation of gender hierarchy and gender roles in his writings has become more complex. On the one hand, as a minister, he insisted on conformity to a biblically based gender hierarchy, and in works like The Life and Death of Mr. Badman (1680) he condemned the fashionable display of sexuality. On the other hand, Bunyan conceptualized the nature of the human relationship with God as requiring men to perform feminine roles and women to take on masculine traits.

scholarly journals Weimar Art: Between Tradition and Avant-Garde

2020 ◽  
Author(s):  
Maria Belikova
Keyword(s):  
Interwar Period ◽  
The Other ◽  
Distinctive Features ◽  
New Objectivity ◽  
Avant Garde ◽  
Other Hand ◽  
The Aesthetic ◽  
The One

This study aims to analyse two art movements in Germany: Dada and New Objectivity, identifying their distinctive features in the context of the anti-modernist mood in the interwar period. A ‘call to order’, or return to tradition and classics, can even be found in some texts of the Berlin Dadaists. The aesthetic positions of New Objectivity representatives were also ambiguous. On the one hand, they shattered avant-garde foundations through an appeal to the national pictorial tradition. On the other hand, modernist means of expression can be traced in their works.

scholarly journals W granicach psychopatologii? Szkolna recepcja Brunona Schulza w okresie stalinowskim

Schulz/Forum ◽  
2017 ◽  
Author(s):  
Katarzyna Warska
Keyword(s):  
World War Ii ◽  
Interwar Period ◽  
The Other ◽  
World War ◽  
Polish Literature ◽  
Reading List ◽  
Literature Reading ◽  
Other Hand ◽  
The World ◽  
Bruno Schulz

After World War II, under the Marxist ideological pressure, the works of Bruno Schulz had no chance to be included in Polish literature reading list at school. He was one of the writers referred to as “bourgeois,” escaping from reality to the world of fantasy. Following such premises, the author of the first textbook focusing on the literature of the interwar period accused Schulz of hating humanity and progress as well as too much stress on form. That tone became somewhat less aggressive in the next textbook, written by Ryszard Matuszewski, who continued the official line but on the other hand treated Schulz more apologetically.

scholarly journals Queering The Construction Of Gender Identity In Chris Columbus’ Movie Mrs. Doubtfire

ATAVISME ◽  
2013 ◽  
Vol 16 (2) ◽  
pp. 141-152
Author(s):  
Pradipta Agustina ◽  
Maimunah Maimunah
Keyword(s):  
Gender Roles ◽  
Gender Identity ◽  
Queer Theory ◽  
Judith Butler ◽  
Gender Performance ◽  
The Other ◽  
Main Concern ◽  
Gender Performativity ◽  
Traditional Gender Roles ◽  
Other Hand

The construction of traditional gender roles has affected the understanding of being feminine and masculine. This understanding seems to influence gender performance in the film Mrs. Doubtfire. This one­hour­and­fifty­seven­minute film was directed by Chris Columbus. This study is conducted to examine how gender performativity is illustrated in the film and what ideology lies within the film. Queer theory, especially gender performativity by Judith Butler is used as the framework of the study. The study is done by observing and analysing chosen scenes from the film focusing on the performance of Daniel Hillard as Euphegenia Doubtfire. Narrative aspect of the film is not only the main concern; the non­narrative is also part of the analysis especially on costume, makeup, performance and color. The main finding of this study is this film in one hand celebrates traditional gender roles but on the other hand promotes gender as performance. Femininity is pictured as fluid. Therefore, it is also a performativity. The contestation between those two opposing ideas is smoothly wrapped through amusing film such as Mrs. Doubtfire. Abstrak: Film Mrs. Doubtfire karya Chris Columbus menampilkan konstruksi yang berbeda dengan konstruksi peran gender yang telah menjadi mainstream. Berdurasi 1 jam dan 57 menit, film ini menampilkan konstruksi maskulinitas dan femininitas yang dapat saling bertukar, cair, dan tidak baku. Studi ini mengkaji dua pertanyaan utama. Pertama, bagaimana konstruksi peran gender digugat melalui performativitas gender? Kedua, ideologi apa yang terdapat dalam film? Teori Queer terutama gender performativitas yang dikemukakan oleh Judith Butler menjadi kerangka penelitian ini. Penelitian ini dilakukan dengan mengobservasi dan menganalisis adegan terpilih dengan berfokus pada penampilan Daniel Hillard sebagai Euphegenia Doubtfire. Aspek naratif dalam film bukan satu­satunya perhatian utama. Aspek non­naratif juga menjadi bagian analisis kostum, tata rias, penampilan, dan warna. Penelitian ini menyimpulkan bahwa film ini pada satu sisi mengonfirmasi peran gender yang tradisional, tetapi di lain pihak juga mencoba menawarkan performativitas gender. Ideologi film ini menggambarkan femininitas sebagai sesuatu yang cair sehingga femininitas juga sesuatu yang sifatnya performativitas. Kontestasi antara kedua hal tersebut disajikan dengan menarik dalam film Mrs. Doubtfire. Kata­Kata Kunci: konstruksi gender; performativitas gende; teori queer

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