scholarly journals Արբի Հովհաննիսյանը` հայ թատրոնի և Իրանի կինոարվեստի գործիչ

2021 ◽  
pp. 72-93
Author(s):  
Անահիտ Չթյան
Keyword(s):  
Occupational Activity ◽  
The West ◽  
The Arts ◽  
The 1960S

Արբի Հովհաննիսյանը պատկանում է նորարարական ուղղվածության արվեստագետների թվին: Նա, ինչպես թատրոնում, այնպես էլ կինոյում, իր խիզախ, հայտնություններով լի գործերով փորձեց ներկայացնել հարցեր, որոնք մարդկությանը հուզում են դեռևս վաղնջական ժամանակներից: 1960-ականներից ի վեր, լինելով Շիրազի և Թեհրանի արվեստի փառատոների մասնակիցն ու կազմակերպիչը, Հովհաննիսյանը, իր համախոհների հետ միասին, մտորել է «Համամարդկային թատրոնի» գաղափարի շուրջ: Մի թատրոնի, որը պետք է ընթանար Արևմուտքի և Արևելքի երկրների մշակույթները մերձեցնելու ճանապարհով: Արվեստագետն իր որոնումները շարունակեց նաև Ֆրանսիա տեղափոխվելուց հետո (1978)` այստեղ ևս իր գործնական աշխատանքում և տեսական հրապարակումներում հավասարապես կարևորելով Սփյուռքի և հայրենի արվեստները միավորելու գաղափարը: Arbi Hovhannissian belongs to the artists of innovative trend. His creations both in theatre and cinema abound in daring and unexpected solutions, where he seeks to address the issues that interest the humanity from time immemorial. Beginning from the 1960s, as the organizer and participator of the Shiraz and Teheran Art Festivals, Hovhannissian, jointly with his associates, deliberated the idea of the “For All Mankind Theatre”. Presumably, it was to unite the cultures of the East and the West. The artist continued his quest upon his moving to France in 1978. Here, in his occupational activity and theoretical publications, he equally underscored the importance of unifying the arts of the Fatherland and the Diaspora.

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.

scholarly journals Introduction to Jalal AL-E Ahmad's “To Mohassess, For the Wall”

ARTMargins ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 118-126
Author(s):  
Mohammadreza Mirzaei
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.

A note on John Hawkins (1761–1841) and the Hawkins archive

2000 ◽  
Vol 27 (2) ◽  
pp. 261-268
Author(s):  
R. J. CLEEVELY
Keyword(s):  
Major Part ◽  
Reference Lists ◽  
The West ◽  
History Of ◽  
The 1960S

A note dealing with the history of the Hawkins Papers, including the material relating to John Hawkins (1761–1841) presented to the West Sussex Record Office in the 1960s, recently transferred to the Cornwall County Record Office, Truro, in order to be consolidated with the major part of the Hawkins archive held there. Reference lists to the correspondence of Sibthorp-Hawkins, Hawkins-Sibthorp, and Hawkins to his mother mentioned in The Flora Graeca story (Lack, 1999) are provided.

Studying Modern Arabic Literature

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Arab World ◽  
Public Intellectual ◽  
Arabic Literature ◽  
Global Culture ◽  
The West ◽  
Teaching And Research ◽  
The Face ◽  
The 1960S ◽  
Modern Arabic

This book is devoted to the life and academic legacy of Mustafa Badawi who transformed the study of modern Arabic literature in the second half of the twentieth century. Prior to the 1960s the study of Arabic literature, both classical and modern, had barely been emancipated from the academic approaches of orientalism. The appointment of Badawi as Oxford University's first lecturer in modern Arabic literature changed the face of this subject as Badawi showed, through his teaching and research, that Arabic literature was making vibrant contributions to global culture and thought. Part biography, part collection of critical essays, this book celebrates Badawi's immense contribution to the field and explores his role as a public intellectual in the Arab world and the west.

Book Reviews

2015 ◽  
Vol 33 (3) ◽  
pp. 88-107
Author(s):  
Louise K. Davidson-Schmich ◽  
Jennifer A. Yoder ◽  
Friederike Eigler ◽  
Joyce M. Mushaben ◽  
Alexandra Schwell ◽  
...  
Keyword(s):  
Print Media ◽  
Forced Migration ◽  
Way Of Life ◽  
The West ◽  
Politics Of Memory ◽  
German State ◽  
East German ◽  
1960S And 1970S ◽  
The 1960S

Konrad H. Jarausch, United Germany: Debating Processes and Prospects Reviewed by Louise K. Davidson-Schmich Nick Hodgin and Caroline Pearce, ed. The GDR Remembered:Representations of the East German State since 1989 Reviewed by Jennifer A. Yoder Andrew Demshuk, The Lost German East: Forced Migration and the Politics of Memory, 1945-1970 Reviewed by Friederike Eigler Peter H. Merkl, Small Town & Village in Bavaria: The Passing of a Way of Life Reviewed by Joyce M. Mushaben Barbara Thériault, The Cop and the Sociologist. Investigating Diversity in German Police Forces Reviewed by Alexandra Schwell Clare Bielby, Violent Women in Print: Representations in the West German Print Media of the 1960s and 1970s Reviewed by Katharina Karcher Michael David-Fox, Peter Holquist, and Alexander M. Martin, ed., Fascination and Enmity: Russia and Germany as Entangled Histories, 1914-1945 Reviewed by Jennifer A. Yoder

Building hydrosocialism in Czechoslovakia

2020 ◽  
Vol 13 (3) ◽  
pp. 610-633
Author(s):  
Jiří Janáč
Keyword(s):  
Water Management ◽  
Social Change ◽  
Natural Resource ◽  
Environmental Issues ◽  
State Socialism ◽  
Communist Society ◽  
The West ◽  
Transformative Power ◽  
Reflexive Modernity ◽  
The 1960S

Throughout the period of state socialism, water was viewed as an instrument of immense transformative power and water experts were seen as guardians of such transformation, a transformation for which we coin the term 'hydrosocialism'. A reconfiguration of water, a scarce and vital natural resource, was to a great extent identified with social change and envisioned transition to socialist and eventually communist society. While in the West, hydraulic experts (hydrocrats) and the vision of a 'civilising mission' of water management (hydraulic mission) gradually faded away with the arrival of reflexive modernity from the 1960s, in socialist Czechoslovakia the situation was different. Despite the fact they faced analogous challenges (environmental issues, economisation), the technocratic character of state socialism enabled socialist hydraulic engineers to secure their position and belief in transformative powers of water.

Fleeing the Soviet Union, Dancing on the West Coast

Experiment ◽  
2014 ◽  
Vol 20 (1) ◽  
pp. 297-316
Author(s):  
Lorin Johnson ◽  
Donald Bradburn
Keyword(s):  
Soviet Union ◽  
Los Angeles ◽  
High Power ◽  
West Coast ◽  
Southern California ◽  
The West ◽  
The Arts ◽  
The Soviet Union ◽  
First Time

In the 1970s and 1980s, Los Angeles audiences saw Soviet defectors Mikhail Baryshnikov, Alexander Godunov, Natalia Makarova, and Rudolf Nureyev in the prime of their careers at the Hollywood Bowl, The Dorothy Chandler Pavilion and the Greek Theater. Dance photographer Donald Dale Bradburn, a local Southern California dancer describes his behind-the-scenes access to these dancers in this interview. Perfectly positioned as Dance Magazine’s Southern California correspondent, Bradburn offers a candid appraisal of the Southern California appeal for such high-power Russian artists as well as their impact on the arts of Los Angeles. An intimate view of Russian dancers practicing their craft on Los Angeles stages, Bradburn’s interview is illustrated by fourteen of his photographs, published for the first time in this issue of Experiment.

scholarly journals The Psychoprophylactic Method of Painless Childbirth in Socialist Czechoslovakia: from State Propaganda to Activism of Enthusiasts

2016 ◽  
Vol 60 (4) ◽  
pp. 534-556 ◽  
Author(s):  
Ema Hrešanová
Keyword(s):  
Pain Relief ◽  
Scientific Method ◽  
Communist Regime ◽  
The West ◽  
Medical Journals ◽  
History Of ◽  
English Speaking ◽  
The 1960S ◽  
Pharmacological Method ◽  
Insight Into

This paper explores the history of the ‘psychoprophylactic method of painless childbirth’ in socialist Czechoslovakia, in particular, in the Czech and Moravian regions of the country, showing that it substantially differs from the course that the method took in other countries. This non-pharmacological method of pain relief originated in the USSR and became well known as the Lamaze method in western English-speaking countries. Use of the method in Czechoslovakia, however, followed a very different path from both the West, where its use was refined mainly outside the biomedical frame, and the USSR, where it ceased to be pursued as a scientific method in the 1950s after Stalin’s death. The method was imported to Czechoslovakia in the early 1950s and it was politically promoted as Soviet science’s gift to women. In the 1960s the method became widespread in practice but research on it diminished and, in the 1970s, its use declined too. However, in the 1980s, in the last decade of the Communist regime, the method resurfaced in the pages of Czechoslovak medical journals and underwent an exciting renaissance, having been reintroduced by a few enthusiastic individuals, most of them women. This article explores the background to the renewed interest in the method while providing insight into the wider social and political context that shaped socialist maternity and birth care in different periods.

The foundations and prerequisites of imagology

2021 ◽  
pp. 65-74
Author(s):  
Valerii P. Trykov ◽  
Keyword(s):  
Social Engineering ◽  
Dominant Strategy ◽  
The Other ◽  
Special Role ◽  
The West ◽  
European Culture ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Eu Project

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

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.

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