scholarly journals Timothy Brittain-Catlin, Jan De Maeyer and Martin Bressani (eds.), Gothic Revival Worldwide: A.W.N. Pugin’s Global Influence

ABE Journal ◽  
2018 ◽  
Author(s):  
Stuart King
Keyword(s):  
Gothic Revival ◽  
Global Influence

Kim Kardashian: the Leader of the Influencers

2019 ◽  
Author(s):  
Laila Fariha Zein ◽  
Adib Rifqi Setiawan
Keyword(s):  
Social Media ◽  
The United States ◽  
Armenian Genocide ◽  
The Public ◽  
Self Defense ◽  
Global Commerce ◽  
The World ◽  
Social Media Platforms ◽  
International Issues ◽  
Global Influence

In today’s world, it is easier and easier to stay connected with people who are halfway across the world. Social media and a globalizing economy have created new methods of business, trade and socialization resulting in vast amounts of communication and effecting global commerce. Like her or hate her, Kimberly Noel Kardashian West as known as Kim Kardashian has capitalized on social media platforms and the globalizing economy. Kim is known for two things: famous for doing nothing and infamous for a sex tape. But Kim has not let those things define her. With over 105 million Instagram followers and 57 million Twitter followers, Kim has become a major global influence. Kim has travelled around the world, utilizing the success she has had on social media to teach make-up master classes with professional make-up artist, Mario Dedivanovic. She owns or has licensed several different businesses including: an emoji app, a personal app, a gaming app, a cosmetics line, and a fragrance line. Not to be forgotten, the Kardashian family show, ‘Keeping Up with the Kardashians’ has been on the air for ten years with Kim at the forefront. Kim also has three books: ‘Kardashian Konfidential’, ‘Dollhouse’, and ‘Selfish’. With her rising social media following, Kim has used the platforms to show her support for politicians and causes, particularly, recognition of the Armenian genocide. Kim also recently spoke at the Forbes’ women’s summit. Following the summit, Kim tweeted out her support for a recent movement on Twitter, #freeCyntoiaBrown which advocated for a young woman who claimed to have shot and killed the man who held her captive as a teenage sex slave in self-defense. Kim had her own personal lawyers help out Cyntoia on her case. Kim has also moved beyond advocating for issues within the confines of the United States. As mentioned earlier, she is known for advocating for recognition of the Armenian genocide. In the last two years, her show has made it a point to address the Armenian situation as it was then and as it is now. Kim has been recognized as a global influencer by others across the wordl. We believe Kim has become the same as political leaders when it comes to influencing the public. Kim’s story reveals that the new reality creates a perfect opportunity for mass disturbances or for initiating mass support or mass disapproval. Although Kim is typically viewed for her significance to pop culture, Kim’s business and social media following have placed her deep into the mix of international commerce. As her businesses continue to grow and thrive, we may see more of her influence on international issues and an increase in the commerce from which her businesses benefit.

Exporting Soviet Culture: The Case of Agitprop Theater

Slavic Review ◽  
2003 ◽  
Vol 62 (2) ◽  
pp. 324-342 ◽  
Author(s):  
Lynn Mally
Keyword(s):  
Soviet Union ◽  
Socialist Realism ◽  
Popular Front ◽  
Political Strategy ◽  
Soviet Culture ◽  
Cultural Policies ◽  
New Methods ◽  
The Soviet Union ◽  
Theatrical Performance ◽  
Global Influence

In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.

scholarly journals Domestic trends in malaria research and development in China and its global influence

2017 ◽  
Vol 6 (1) ◽  
Author(s):  
Yang-Mu Huang ◽  
Lu-Wen Shi ◽  
Rui She ◽  
Jing Bai ◽  
Shi-Yong Jiao ◽  
...  
Keyword(s):  
Research And Development ◽  
Malaria Research ◽  
Global Influence

"To Agree Would be to Commit an Act of Artistic Suicide...": The Revision of the Design for the Law Courts

1983 ◽  
Vol 42 (2) ◽  
pp. 168-188
Author(s):  
David B. Brownlee
Keyword(s):  
Gothic Revival ◽  
Whole Process ◽  
Political Controversy ◽  
Royal Courts ◽  
The Law ◽  
Law Courts

The 16 years of labor that George Edmund Street devoted to the Royal Courts of Justice were filled with artistic and political controversy. Amidst that turmoil Street created a design whose pragmatism and visual logic marked the end of the intensely intellectual, High Victorian phase of the Gothic Revival. "Without it," Robert Kerr concluded in 1884, "the whole process of the Revival had been quite incomplete."

An Oxford College and the Gothic Revival

1955 ◽  
Vol 18 (3/4) ◽  
pp. 145
Author(s):  
T. S. R. Boase
Keyword(s):  
Gothic Revival

Religious Art and Architecture in 18th-Century Europe

2021 ◽  
Author(s):  
Sean DeLouche
Keyword(s):  
French Revolution ◽  
18Th Century ◽  
Cultural Tradition ◽  
Religious Art ◽  
Spiritual Power ◽  
Grand Tour ◽  
Gothic Revival ◽  
Works Of Art ◽  
The Arts ◽  
Art And Architecture

The 18th century was an era of transition for the arts and religion. Monarchs continued to commission religious art and architecture for a variety of reasons, including fulfillment of vows, expressions of faith and piety, and celebrations of dynastic power. The period saw simultaneous trends toward sumptuous decoration and sober display, as well as the rise of new artistic styles, including the Rococo, Neoclassicism, and the Gothic Revival. The Grand Tour brought many northern European Protestants to the seat of Catholicism. Protestant attitudes toward “popish” art softened in the 18th century, due in part to the increasing contact between Catholic and Protestant culture in Rome and to the perception that Catholicism was no longer a plausible threat. As the temporal and spiritual power of Rome declined in the 18th century, the papacy sought to reestablish itself as a cultural authority. The papacy embellished Rome with a number of archaeological and architectural initiatives, linking the popes with classical civilization and casting themselves as the custodians of the shared Western cultural tradition. With a growing art market and the consumer revolution, the populace had expanding access to religious imagery, from fine religious canvases collected by Catholic and Protestant elites, to reproducible prints that were available to nearly every member of society. However, the Enlightenment brought a profound questioning of religion. Religious works of art faced a loss of context in private displays and in the official Salon exhibitions, where they were intermixed with secular and erotic subjects and judged not on the efficacy of their Christian message or function but rather on aesthetic terms in relation to other works. The century ended with the French Revolution and brought violent waves of de-Christianization and iconoclasm. In order to save France’s Christian heritage, religious works of art had to be stripped of their associations with church and crown.

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