Academic literature on the topic '1930s'

Defence date: 26 October 2007<br>Examining Board: Professor Luisa Passerini (EUI and Università di Torino); Professor Bo Strath (EUI); Professor Nicola Labanca (Università di Siena); Professor David Forgacs (University College London)<br>PDF of thesis uploaded from the Library digital archive of EUI PhD theses<br>no abstract available

This thesis is an investigation of writing by New Zealand children in the Children's Pages of five New Zealand newspapers: the New Zealand Herald, Christchurch Press and Otago Daily Times in the 1930s and 1980s, the Dominion in the 1930s; and the Wellington Evening Post in the 1980s. Its purpose is to show how children reflected their world, interacted with editors, and interpreted the adult world in published writing, and to examine continuities and changes between the 1930s and 1980s. It seeks evidence of gender variations in writing. and explores the circumstances in which the social role of writing was established by young writers. It considers the ways in which children (especially girls) consciously and unconsciously used public writing to create a public place for themselves. It compares major themes chosen by children, their topic and genre preferences in writing, and the gender and age differences evident in these preferences. The thesis is organised into three Parts, with an Introduction discussing the scholarly background to the issues it explores, and its methodology. Part One contains two chapters examining the format and tone of each Children's Page. And the role and influence of their Editors. Part Two (also of two chapters) investigates the origins and motivations of the young contributors, with a special focus on the Otago Daily Times as a community newspaper. Part Three. of four chapters, explores the children's writing itself, in separate chapters on younger and older children, and a chapter on the most popular genre, poetry. The conclusion suggests further areas of research, and points to the implications of the findings of the thesis for social history in New Zealand and for classroom practice. The thesis contains a Bibliography and an Appendix with a selection of writings by Janet Frame and her family to the Otago Daily Times Children's Page in the 1930s.<br>Note: Whole document restricted at the request of the author, but available by individual request, use the feedback form to request access.

Marie al-Khazen was a Lebanese photographer who lived between 1899 and 1983. Her photographs were mostly taken between the 1920s and 1930s in the North of Lebanon. They were compiled by Mohsen Yammine, a Lebanese collector who later donated the photographs to the Arab Image Foundation. Her work includes a collection of intriguing photographs portraying her family and friends living their everyday life in Zgharta. Al-Khazen seized every opportunity to use her camera to capture stories of her surroundings. She not only documented her travels around tourist sites in Lebanon but also sought creative experimentation with her device by staging scenes, manipulating shadows and superimposing negatives to produce different effects in her prints. Within the borders of her photographs, bedouins and European friends, peasants and landlords, men and women, comfortably share the same space. Most of Marie al-Khazen's photographs, which are circulated online through the Arab Image Foundation's website, suggest a narrative of independent and determined Lebanese women. These photographs are charged with symbols that can be understood, today, as representative of women's emancipation through their presence as individuals, separate from family restrictions of that time. Images in which women are depicted smoking a cigarette, driving a car, riding horses and accompanying men on their hunting trips counter the usual way in which women were portrayed in 1920s Lebanon. The photographs can be read as a space for al-Khazen to articulate her vision of the New Woman or the Modern Girl as described by Tani Barlow in The Modern Girl Around the World. In this anthology, authors like Barlow point to the ways in which the modern girl "disregards the roles of dutiful daughter, wife and mother," in seeking sexual, economic and political emancipation. Al-Khazen's photographs lead me to pose a series of questions pertaining to the representation of femininity and masculinity through the poses, reasoning, and activities adopted by women and men in the photographs. The questions which frame this study have to do with the ways in which notions of gender, class and race are inscribed within Marie al-Khazen's photographs.<br>Marie al-Khazen est une photographe libanaise qui vécut entre 1899 et 1983. La plupart de ses photos furent prises dans les années vingt et trente dans la région de Zgharta au Nord du Liban. Ces photos font partie de la collection de Mohsen Yammine, un collectionneur libanais. Elles sont actuellement conservées dans les archives de la Fondation de l'image Arabe à Beyrouth et sont disponibles en ligne sur le site internet de la Fondation. Le corpus d'al-Khazen est constitué d'un ensemble de photographies captivantes qui représentent le quotidien de sa famille et de ses amis à Zgharta. Al-Khazen saisissait son milieu social grâce à son appareil photo. Néanmoins, elle ne se contentait pas de documenter ses excursions touristiques au Liban; elle explorait également les capacités techniques de son appareil photo en inventant des scènes photographiques et en manipulant les ombres dans l'espace photographique. Au travers de ses photos on retrouve les effets surréalistes qu'elle créait – peut-être intentionnellement – en faisant des tirages de deux négatifs superposés. Dans le cadre de ces images, on retrouve des bédouins et des Européens, des paysans et des bourgeois, des femmes et des hommes se partageant le même espace. La plupart des photos de Marie al-Khazen évoquent les destins de femmes indépendantes et engagées. Ces photos sont chargées de symboles qui suggèrent une représentation de la femme émancipée. A travers le corpus d'al-Khazen, des femmes apparaissent en train de fumer des cigarettes et de conduire des automobiles. On retrouve également des femmes qui accompagnaient les hommes dans leurs excursions de chasse. Ces photos semblent incompatibles avec la façon dont les femmes étaient représentées dans la presse des années vingt au Moyen Orient où les femmes, en général, évitaient de se montrer dans des endroits publiques. Je propose une lecture qui articule la façon dont al-Khazen a utilisé l'espace photographique pour manifester sa vision de la nouvelle femme: la femme moderne comme celle décrite par Tani Barlow et ses collègues dans The Modern Girl Around the World. Cette anthologie représente la "modern girl" qui, selon Barlow et ses collègues, "disregards the roles of dutiful daughter, wife and mother," en recherchant une émancipation sexuelle, économique et politique.Les photos d'al-Khazen m'incitent à interroger de façons multiples la représentation de la femininité et la masculinité à travers le comportement, le raisonnement, et les activités des femmes et des hommes dans ces photographies. Ces questions s'adressent à la sociologie de l'identité sexuelle et se proposent d'analyser la façon dont cette identité est évoquée dans les photos de Marie al-Khazen.

The aim of this thesis is to examine the complex relationship between western music and municipality in 1930s and 1940s Shanghai. The objective is to carry out an inquiry into musical venues, municipal policies and ideas of musical sound in a fragmented administrative geography. Music historians have yet to research in tandem municipalities of the British and French settlers, Japanese military and the Chinese Nationalists—an alternative historical modelling that nuances studies of 1930s and 1940s Shanghai as a global and colonial metropolis. In terms of the evidence, the thesis draws on documentary sources in Chinese, English, French and German from Shanghai’s treaty port, war and postwar years. Surviving materials extend from concert programmes, used scores and musical advertisements to venue licences and tax correspondence. The four main chapters function as case studies; each is located in a specific municipality. Chapter One discusses the International Settlement: British settlers’ sonic values and the aural phenomenon of the Shanghai Municipal Brass Band in the parks. Chapter Two discusses the French Concession: the sonic regulation of the French Municipal Council and the jarring but no less ‘French’ entertainment of eateries. Chapter Three discusses ‘Little Vienna’ in Japanese-occupied Shanghai: the landscape of European Jewish cafés and their sound worlds of Unterhaltungsmusik in the Restricted Sector for Stateless Refugees. Chapter Four discusses Nationalist Shanghai: eateries’ claims of a distinct musical sound in the context of an anti-music tax policy. The Epilogue shifts from ‘1930s and 1940s Shanghai’ as a matter of music history to matters of historiography, first exploring reproduction maps and repositories, then outlining some further directions for an archival musicology. In terms of its overall contribution, the thesis brings to light not only Shanghai’s western musical venues and municipal policies, but also the peculiar geography of a city of cities, multinational yet divided.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 212-221).<br>This dissertation is an architectural history of Russian everyday life, or byt, in the first two decades after the October Revolution. In this period, the investigation and reform of byt was a project that vastly crossed the limits of the architectural profession. I survey ways in which the quotidian environment was understood, ordered and envisioned in a variety of practices: bureaucracy, literature, theatre, film, urbanism, and design. The dissertation explores the architecture of discrete geographies, sets of tactics and strategies, employed in mapping the terrain of the quotidian. It explores how the official rhetoric of labor and productivity was translated into ethics and aesthetics of existence. The study is ordered chronologically, and according to scale. In the first chapter I explore the manipulation and invention of the everyday object. The second chapter is about the performance of the everyday in Meyerholds's biomechanical theatre, its ties with the Central Institute of Labor, and the charting of the agitated body in action onto the space of the stage. The third chapter captures a moment in the development of the Soviet bathhouse, or banya, , in which the bath, resembling a factory, was conceived of as an efficient, working building, which processed citizens' bodies in their entirety, and in some cases, presented replicas of the world at large. In the fourth chapter I read collective workers' histories to reconstruct the aesthetic of the Moscow Metro and particular modes of perception needed to capture and behold its magnificence. The final chapter is about the efforts of wife-activists, or obshchestvennitsy, to represent a society of surplus and overproduction through their management of nature's bounty.<br>by Tijana Vujosevic.<br>Ph.D.

This PhD thesis is a critical inquiry into the (un) translatability of the 'difference' of an art produced in a non-'Western' context. My inquiries into the translatability of cultural differences do not deal with 'the incommensurability' of these differences, but explore the possibilities of their significant translations. This has been carried out in terms of case studies of four major Korean artists, their representative works, and the artistic developments of the 1930s-1990s in Korea. The artists in order are OH Chi Ho, PARK Seo Bo, SUH Se Ok and Kim Sooja. Each of Chapters 3 to 6 focuses on one of these artists whose work represents the most significant developments of colonial and 'postcolonial' Korean art, in reference to my theoretical arguments grounded in Chapters I and 2: the ideological and political discourses of cultural identity of a colonial and postcolonial nation's art; a marginalized nation's discourse of 'double translation' in cross-cultural transactions; and the postmodern and postcolonial concept of a 'peripheral' nation's hybridity. The term 'translation' in this thesis covers all kinds of translation: from translating the figurative to the literal, translating between different cultures and translating the past into the present. I will also use the term 'translate' as a metaphor for certain kinds of transference and dependence-linking it to Hegel's philosophy of self-consciousness and aspects of Lacan's psychoanalytic theory in order to illuminate and analyze problems involved in theorizing cultural identity and cross cultural transactions within the context of the current globalization in which geographical, economical, cultural and conceptual spaces are becoming increasingly hybrid. Throughout the thesis, Iuse the case studies of particular Korean artists as the basis of a critique of the nationalist Korean analysis of colonial and postcolonial Korean art, a postcolonial theory-inspired notion of the hybridity of an assumed peripheral culture/country (for example Korea), totalizing generalizations of 'Asianness' or 'Koreanness' of contemporary Korean art, and the Euro-centric concepts of 'cross­ cultural influence'. These studies focus on how certain Korean appropriations of 'otherness' of the 'exotic Western' imports within specific historical contexts have played an integral role in the ongoing process of conceptualizing and formulating forms of national and cultural identity.

Graphic design holds a marginal position in the Italian design historiography in relation to industrial design. Often written by and for graphic designers, histories have tended to concentrate on changes in graphic styles as exemplified in works by prominent designers or the visual communication strategies of major companies. By contrast, this thesis addresses the organisation of the graphic design profession in Milan, from the interwar period to the mid-1960s. Key aspects explored include: graphic design’s mutable meanings and practices; formal and informal educational practices; graphic designers’self-identification with a new profession; and the structures they created to organise and make their practice visible. A focus on dialogue and negotiation between different interest groups stresses the relational and contingent nature of design professions. The thesis asks whether Milan’s graphic practitioners capitalised on modernist ideas such as standardisation, universalism, objectivity and functionalism to distance themselves from graphic arts and advertising, and enable re-categorisation within design. Thus, it problematises the relationship between professionalisation and international modernism, within the specific context of industrial structures in Milan and the hierarchy of design practice in twentieth-century Italy more broadly. The thesis provides an original retelling of stories often taken for granted, and looks behind individual designers and big companies to uncover overlooked narratives. Five chapters addressing the Scuola del Libro and the Cooperativa Rinascita in Milan, the ISIA in Monza, the Milan Triennale, the Studio Boggeri and the associations AIAP and ADI draw attention to educational issues, design practice, professional organisations, networks and mediating channels that have defined, legitimised, represented, advanced, contrasted, and articulated the graphic design profession in Milan. The argument is built on close scrutiny of archival material and other primary sources, including extensive visual material and oral interviews. Methodologies derive principally from history of design and visual culture, and place great emphasis on visual analysis. Visual artefacts are approached both as visual expressions of design methodologies and aesthetic principles and, drawing on actor-network-theory, as three-dimensional actors that interact with people and other artefacts. Despite focusing on the local, the thesis draws on global design history as a methodology by taking into account the dynamic and multi-directional movement of people, ideas, and artefacts within transnational circuits. Building on sociological stances, it approaches professions as socially constructed concepts and argues that professional identities are constantly in formation and require continual adaptation to shifting environments, agendas and design discourses. The thesis aims to offer neither a comprehensive history of Italian graphic design nor a final assessment of its professionalisation. Rather, it prioritises the process of professionalisation, by stressing tensions and contradictions, and by following practitioners’ struggle to articulate what graphic design is. The originality and potential impact of the thesis lie in its endeavour to present a closely-articulated history of the graphic design profession in Milan that draws attention to economic, industrial, political, social and technological contexts, and to propose this as a template for the writing of graphic design history. Furthermore, it provides a historically-integrated, archive-based, outward-looking model for graphic design history as an integral part of the history of design.