The Cambridge guide to the arts in Britain. v.9: Since the Second World War

1991 ◽  
Vol 28 (07) ◽  
pp. 28-4041-28-4041
Author(s):  
Cecilia Bello Minciacchi

The essay presents and analyses the film criticism articles written by Paola Masino for the new edition of the Venice Film Festival after the Second World War. The articles, which appeared in the Gazzetta d’Italia between August 31 and September 19, 1946, were not later collected or republished. These are rare materials, never studied before, found among the documents of the Fondo Paola Masino kept at the Archivio del Novecento, Sapienza University of Rome. Other significant and useful information to understand Masino’s critical perspective on cinema emerges from the letters sent from Venice to family members. The analysis of the articles highlights in Paola Masino a lively intellectual curiosity and great precision in aesthetic judgments, in addition to a peculiar sensitivity to chromatic values, and an ethical attention to the political perspective of film directors and to the recent tragedies of war and partisan resistance in Italy. Among the most interesting data emerged from these articles, there are some theoretical reflections on aesthetic principles valid not only for cinema, but for all the arts, including the narrative and the literary work of the same Paola Masino.


Author(s):  
Guy Woodward

Though it had not suffered the devastation inflicted on much of the rest of Europe, the emerging southern Irish state faced huge challenges over the decades following the end of the Second World War. Economic growth was poor; a largely agricultural economy had been crippled during the war by tariffs imposed by its most important market and former colonial ruler Britain. The population of the Republic of Ireland declined during the 1950s due to emigration but recovered during the 1960s and 1970s. Fianna Fáil dominated the Irish political scene following independence and governed for twenty-five of the thirty-five years from 1945 to 1980. Leader of the party since its formation in 1926, Éamon de Valera had led the state through the Second World War and remained as Taoiseach until 1948, returning from 1951 to 1954 and again from 1957 to 1959, before serving two terms as president from 1959 to 1973. John A. Costello’s Fine Gael government declared Ireland a republic in 1948 and took the state out of the British Commonwealth the following year. The British government’s Ireland Act of 1949 reacted to the legal implications of these developments but was most notable for its guarantee that Northern Ireland would remain within the United Kingdom unless the Stormont Parliament decided otherwise. The southern state joined the United Nations in 1955 and the European Economic Community in 1973, concluding a process instigated by de Valera’s successor as Taoiseach, the economic reformer Seán Lemass, who took steps to remove protectionist barriers and open up Ireland to foreign direct investment. This remained a socially conservative period, however, during which the influence of the Catholic Church was strong. Irish–British relations were often tense. Northern Ireland’s devolved Parliament in Stormont, dominated by a Unionist party, was largely hostile to any kind of engagement with the southern state. Following the flaring of sectarian violence in the late 1960s and early 1970s and the beginning of the thirty-year-long conflict popularly known as “The Troubles,” Westminster deployed the army in 1969 and imposed direct rule in 1973. The province had benefited from some social reforms introduced by the British Labour government of 1945, however, especially the Education (Northern Ireland) Act of 1947, which introduced compulsory secondary education until the age of fifteen, enabling new postwar generations of underprivileged, often Catholic young people to continue to university; beneficiaries included Seamus Heaney and Seamus Deane. The conservative social climate in the southern state proved uncongenial to radical creative expression, and most of the preeminent figures in postwar Irish writing saw their work banned at this time. Many significant foreign works of literature were also banned, restricting the flow of cultural material into Ireland. Several Irish writers migrated to England in the 1950s and 1960s, including William Trevor, John McGahern, and Edna O’Brien. However, in the postwar period, arts and literature began to receive sustained government support both north and south of the border: the Arts Council of Ireland (An Chomhairle Ealaíon) was founded in 1951, and the Arts Council of Northern Ireland grew out of the Council for the Encouragement of Music and the Arts in Northern Ireland, which had been established in 1943 to encourage public interest in the arts. This article does not cover drama, which is addressed in the separate Oxford Bibliographies entry Post-War Irish Drama.


2010 ◽  
Vol 26 (1) ◽  
pp. 61-70 ◽  
Author(s):  
Anselm Heinrich

In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.


Book 2 0 ◽  
2020 ◽  
Vol 10 (2) ◽  
pp. 217-231 ◽  
Author(s):  
Jack Zipes

We all dream. Even my dog dreams; he whines when he dreams, perhaps because his dreams are as filled with anxiety as my own sometimes are. Dreams – bad dreams and nightmares, particularly – can be profoundly unsettling and disturbing. They can shock and terrify us because they cannot be controlled: they are their own narrators, and the only way we can resolve their penetrating stories is by attempting to interrupt them. Only by jolting ourselves and waking up, we can enlighten ourselves and come to light, and only by generating daydreams, we can counteract the malign influences of bad dreams and nightmares and take charge of our lives. Bad dreams and nightmares can bring dread and devastating realizations: they can leave us marooned in our past. Daydreams, by contrast, can generate options, and perhaps a renewed joy in life as well: they demand that, despite obstacles and despair, we move onwards into the future. They are artful stories; they are the art of utopia and are filled with our wishes and anticipatory illumination. They appeal to us to become artists and narrators of our lives. Participating in the creative arts – writing, painting, acting and making music – is to envision dream-like visions of where we want to go with our lives. Without the arts, without writing especially, and without our conscious picturing the ideal other life, there is little possibility that our desires will be fulfilled. We need hope, and we need daydreams to map our destiny. I believe we need to act on our daydreams, and not slumber into nocturnal nightmares. These beliefs and ideas have been informed by studying the work of Ernst Bloch and his notions about daydreams (not nocturnal dreams). He is a neglected, iconoclastic philosopher, and I believe brilliant. In this article, I propose to discuss his theories about daydreams and then turn to the neglected, Austrian-Jewish painter Mariette Lydis, who in her various works offers proof that daydreams play an immense and important role in our creative lives. Contemporaries, both Bloch (1885–1977) and Lydis (1887–1970) wrote and/or painted during the same century as Freud (1856–1939) and Jung (1875–1961). Both were of Jewish origin. Both survived the First World War, the Nazis and the Second World War. Both kept realizing their desires for a better world through writing and picturing their writing.


Author(s):  
Jed Rasula

After the Great War, the emerging values in art were purification and organization. Furthermore, Constructivism emerged in the early USSR as a determined effort to rethink the role of art in the milieu of a social tabula rasa. Artistic attempts to reconstitute primal qualities were linked with the effort to revitalize art by vanquishing “Art” altogether. The quest for a new realism affirmed the primal qualities in art as abstract or concrete, the terms of which were recapitulated in the 1936 publication Circle. Contemporaneously, Finnegans Wake was being serialized in the journal Transition, and James Joyce’s “Work in Progress” came to exemplify a new mythology for all the arts. The chapter concludes with a look at the exponents of abstraction and Surrealism in their American exile during the Second World War, as these opposing initiatives began to merge in their quest for a new mythology.


2014 ◽  
Vol 14 (3) ◽  
pp. 307-317 ◽  
Author(s):  
Mary-Rose McLaren

Purpose – The purpose of this paper is to explore the interrelation of form and meaning in arts-based research and in academic writing. Design/methodology/approach – It draws on two arts-based projects: one a study of Shakespeare undertaken with undergraduate students; the other a play written to convey a young boy's experiences of Second world War in an Australian country town. Both projects were arts-based research, aimed at extending knowledge of individual experiences, and the ways in which individuals bring knowledge and interpretation to their worlds. Findings – It is hoped by examining the experiences of individuals the authors also learn about collective experiences and ways of building and communicating understanding. The paper proposes that intuitive ways of knowing are of equal value to other ways of knowing, and the Arts provide a space where intuition can be valued and explored. Originality/value – The paper is also an experiment in form, seeking to find forms which reflect the nature of the research. Consequently it is constructed primarily from a piece of iambic pentameter, a play script and a sonnet. These three forms are used, in conjunction, to reflect upon and explore the nature of arts-based research for individuals and collectively.


1995 ◽  
Vol 27 (3) ◽  
pp. 445-453 ◽  
Author(s):  
F. M. Leventhal

No event of the post-Second World War decade in Britain is recalled as affectionately or enveloped in such an aura of nostalgia as the Festival of Britain, a five-month series of cultural events and exhibits, with its centerpiece at the South Bank in London. But the Festival dear to the recollections of those growing up during and after the war diverged sharply from the original conception of its progenitors.In 1943 the Royal Society of the Arts, partly responsible for the Great Exhibition of 1851, suggested to the government that an international exhibition along similar lines be staged in 1951 to commemorate the earlier event. To propose a celebratory occasion in 1943 was an act of faith that the war would not only end successfully, but that Britain would have recovered sufficiently by 1951 to warrant such a demonstration. In September 1945, with the war over and Labour in power, Gerald Barry, the editor of the News Chronicle, addressed an open letter to Stafford Cripps, then President of the Board of Trade, advocating a trade and cultural exhibition in London as a way of commemorating the centenary of the Crystal Palace. Such an exhibition would advertise British products and display British prowess in design and craftsmanship. He favored a site in the center of London, such as Hyde Park or Battersea, either of which would provide ample space for such an exhibition. What prompted these suggestions was the need to provide practical help to British commerce at a time when it was clearly under pressure shifting from wartime controls to peacetime competition.


2020 ◽  
Vol 9 (1-2) ◽  
pp. 119-129
Author(s):  
Martin Krenn

The text discusses inclusion and social engagement in art, which are central to my practice. My projects operate at the interface between dialogical education and participatory as well as collective art making. By referring to Kester’s critique of New Labour policies of the late 1990s as leading to a de-radicalized Marxism I argue for an agonistic method that I connect with the idea of ‘radical inclusion’ as a strategic approach to democratization. The problem of Austrian history politics and how the country created the myth of Austria as the first victim of Nazi Germany is the main focus of my intervention at the Peace Cross St. Lorenz in Lower Austria, which serves as an example of my artistic practice of ‘radical inclusion’. The peace cross exists since the 1960s and is celebrating the Jockisch task force. Contemporary historical research has revealed that this combat group was actively involved in war crimes during the Second World War. To counter the myth of an innocent Wehrmacht I mounted in front of the cross a photomontage made in 1933 by the antifascist artist John Heartfield. Additionally, the memorial is augmented by five signboards which present collages produced by local school pupils during a workshop that took place over a period of six months.


Time and Tide ◽  
2018 ◽  
pp. 241-272
Author(s):  
Catherine Clay

This chapter presents two case studies which explore how in the years leading up to the Second World War Time and Tide’s seemingly non-feminist veneer is disrupted. First, the chapter discusses Time and Tide’s book reviews section and argues that the surface appearance of a less feminist engagement with literature and the arts is called into question by the archive of Theodora Bosanquet’s automatic writing. This unpublished material resituates her public reviews and – in the context of a perceived crisis in book reviewing – reveals a mode of feminism that Barbara Green has theorised as ‘a form of attention’ (2017) and evidences Bosanquet’s ambivalence about the male professionalisation of literary criticism. Second, the chapter shows how Time and Tide’s seemingly non-feminist veneer is disrupted much more overtly when all the leading feminists of the period emerge publicly in the paper at the outbreak of the Second World War. Through an analysis of Time and Tide’s correspondence columns the chapter explores the contribution this magazine made to public debates about war and peace, and its sustained commitment to the ordinary woman reader.


Forum+ ◽  
2019 ◽  
Vol 26 (2) ◽  
pp. 3-12
Author(s):  
Pauline Lebbe

Abstract In de periode tussen de jaren 80 van de negentiende eeuw en de Tweede Wereldoorlog was België een belangrijk internationaal kunstcentrum. In het bijzonder vond de symbolistische stroming er toen vruchtbare grond. Wereldwijd erkent men de hoge kwaliteit van de Belgische symbolistische literatuur en schilderkunst, maar ook in de muziek speelde het symbolistische gedachtegoed een belangrijke rol. In dit artikel bespreekt Pauline Lebbe het repertorium aan liederen van Belgische componisten, gecomponeerd op teksten van Belgische symbolistische auteurs. Ze heeft daarbij aandacht voor de creatieve werkomgeving van de muzikanten. De nauwe samenwerking tussen kunstenaars, kunstcritici en -theoretici en de organisatoren van concerten en muziekverenigingen vormt een belangrijk maar weinig onderzochte context van die muziek. Het corpus aan liederen blijkt verrassend verfijnd en origineel. In the period between the 1880s and the Second World War, Belgium was an important international hub for the arts. Especially the symbolist movement found the fertile soil in this country, which is renowned all over the world for its high-quality symbolist literature and paintings. But in music, too, symbolism reigned supreme. In this article, Pauline Lebbe discusses songs Belgian artists composed to accompany texts by Belgian symbolist authors. She devotes attention to the musicians' creative work environment. The close collaborations between artists, art critics, art theorists and concert organisers and music groups is a crucial aspect of this kind of music that remains underexplored. The corpus of songs turns out to be surprisingly refined and original.


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