Relevant bibliographies by topics / 1940s magazines

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '1940s magazines'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "1940s magazines"

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Baigell, Matthew. "Clement Greenberg, Harold Rosenberg, and Their Jewish Issues." Prospects 30 (October 2005): 651–64. http://dx.doi.org/10.1017/s0361233300002210.

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Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.
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Klinova, Marina A. "Soviet fashion of the first half of the 1950s: formation of a new model of consumption." Vestnik of North-Ossetian State University, no. 2(2020) (June 25, 2020): 17–26. http://dx.doi.org/10.29025/1994-7720-2020-2-17-26.

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the article analyses textual and visual stories, is dedicated to the presentation of fashion images published on the pages of fashion and women’s magazines of the first half of the 1950s, the Study aims to determine vector dynamics and transformations of the Soviet fashion discourse (visual images and texts “fashion advice”) that occurred in the first half of the 1950s, the identification of the causality of these changes and trends socio-economic and political development of the country. When writing the article, the author was guided by the principles of historicism and objectivity. Work with historical sources was carried out using General scientific methods (analysis, synthesis, induction, etc.), as well as historical methods (problem-chronological, retrospective, comparative-historical). The source basis of the study was: Soviet fashion magazines - “Models of the season”, “fashion Magazine”, magazine for women – “Worker”, published during the first half of the 1950s. it was revealed That in the first half of the 1950s. in the official Soviet fashion discourse reflect changes in the standards of “fashion” consumption: the democratization of the presented models (manifested in the reduction in the cost of fabrics and decoration of clothing, expanding the range of everyday practices of using models, etc.); strengthening of ethical and didactic component in the rhetoric of fashion magazines. These processes indicated the replacement of the elite fashion concept presented in fashion publications in the 1940s with a more democratic concept of “Soviet taste”. The final design of this model takes place in the mid-1950s, but the beginning of the processes of its formation can be determined already in the first years of the 1950s. The specifics of the conceptual consumption models declared in the USSR were determined by the dynamics of the country’s economic development and the vector of the social policy pursued. The weakening of the mobilization regime in the first half of the 1950s, as well as increased attention to the problems of living standards of citizens, contributed to the democratization of the standard of “fashionable consumption”, declared in the domestic information space.
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O'Malley, Andrew. "‘The Innocence Project’ – An Online Exhibition and Archive on Children and Comics in the 1940s and 1950s." International Research in Children's Literature 10, no. 1 (July 2017): 20–38. http://dx.doi.org/10.3366/ircl.2017.0216.

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The 1940s and 1950s saw a widespread outcry over children's reading of comic books, most pronouncedly the often violent, gory and erotic crime and horror genres. Concern and outrage over the assumed effects of the ubiquitous magazines on young minds was expressed in a deluge of newspaper editorials, magazine articles, professional and academic journals, and elsewhere. A grassroots movement to restrict children's access to comics led to a Senate Subcommittee hearing in the US investigating links to juvenile delinquency and to legislation in several countries prohibiting the sale of certain comics to minors. Using Omeka publishing and exhibition software, this digital humanities project takes the form of an online exhibition and digital archive and considers the ways in which the comics crisis was structured around the idea of childhood innocence
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Chaochuti, Thosaeng. "Rewriting Ibsen's Nora: Fiction and the New Woman in Thailand (1920s–1940s)." Journal of Southeast Asian Studies 51, no. 3 (September 2020): 397–413. http://dx.doi.org/10.1017/s0022463420000521.

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Previous research has shown that the New Woman was a global phenomenon and that fiction was crucial to the emergence of this New Woman. One work that was of particular importance was Henrik Ibsen's A doll's house. This article examines the rise of the New Woman in early twentieth century Thailand. It traces the campaigns for gender equality that Thai women waged in local newspapers and magazines. It also examines the reactions towards these campaigns by three major authors, all of whom turned to Ibsen's play in their engagement with the New Woman phenomenon.
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Yarrow, Andrew L. "Selling a New Vision of America to the World: Changing Messages in Early U.S. Cold War Print Propaganda." Journal of Cold War Studies 11, no. 4 (October 2009): 3–45. http://dx.doi.org/10.1162/jcws.2009.11.4.3.

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This article examines how U.S. Cold War print propaganda shifted from an emphasis in the late 1940s on America's liberal democratic idealism to an emphasis by the mid-1950s on the country's high and rising living standards and shiny new system of “people's capitalism.” The United States could claim to have beaten the Soviet Union at its own game, providing “classless abundance for all.” These messages echoed those disseminated domestically, in which political leaders, business executives, journalists, and educators increasingly defined America's greatest virtues and identity in economic terms, emphasizing growth and prosperity. This article assesses how the United States—via the U.S. Information Agency and its precursors from the late 1940s to 1960—presented itself to those in the Soviet bloc and globally. The article relies on content analysis of three magazines—Amerika, a Russian-language monthly published for Soviet audiences from 1945 to 1952; Free World, a magazine sent to East Asia that began publishing in English and various Asian languages in 1952; and America Illustrated, a Russian-language monthly published for three-and-a-half decades beginning in 1956—as well as of many pamphlets and other printed material intended for overseas audiences.
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Mendes, Karla Renata. "Diálogos luso-brasileiros: a presença de Cecília Meireles na revista Atlântico / Luso-Brazilian Dialogues: Cecília Meireles’ Presence in the Atlântico Magazine." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 3 (September 30, 2020): 138. http://dx.doi.org/10.17851/2358-9787.29.3.138-163.

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Resumo: Considerada como um dos principais nomes da poesia brasileira, Cecília Meireles também se manteve presente e atuante no meio literário português, encontrando, em solo lusitano, uma boa receptividade e meios favoráveis à difusão de sua obra. Veículos importantes na promoção de seus textos, foram justamente as revistas literárias – publicações variadas que deram visibilidade à autora entre 1930 e 1960. Um desses periódicos é justamente a Atlântico – Revista Luso-Brasileira, editada entre os anos 1940 e 1950. Surgida em meio ao Estado Novo e tendo como pano de fundo um discurso nacionalista e de estímulo à aproximação entre “nações irmãs”, a revista contou com a participação ativa de escritores dos dois países e instituiu-se como um relevante meio de intercâmbio cultural luso-brasileiro. Prova disso é a presença de Cecília Meireles ao longo de números da publicação que retratam sua obra ou a mencionam em recensões críticas e textos literários. Dessa forma, pode-se dizer que a relação estabelecida entre a autora e a revista Atlântico exemplifica aspectos dessa busca de diálogo entre Brasil e Portugal que, em seu caso, acabou sobrepujando fins ideológicos e políticos ganhando, em última instância, contornos subjetivos e pessoais.Palavras-chave: Cecília Meireles; revista Atlântico; poesia; Brasil; Portugal.Abstract: Regarded as one of the major names in Brazilian poetry, Cecília Meireles also kept herself present and active in the Portuguese literary environment, where she was well received and had propitious means of disseminating her work. The literary magazines, varied publications that helped her gain notoriety between 1930 and 1960, were important vehicles for the promotion of her texts. One of these magazines is precisely the Atlântico – Revista Luso-Brasileira (Atlantic – Luso-Brazilian Magazine), edited in the 1940s and the 1950s. The magazine, which was created during the Estado Novo (New State) period and had as background a nationalist discourse and an incentive for the approximation of the “sister nations”, received active participation of writers from both countries and came to be a relevant vehicle for Luso-Brazilian cultural exchange. One evidence of this is Meireles’ presence over editions of the magazine that depict her work or mention her in critical reviews or literary texts. Thus, one can say that the relationship established by the author and the Atlântico magazine exemplifies aspects of this pursuit for dialogue between Brazil and Portugal that, concerning her, overcame ideological and political purposes and reached, at last, subjective and personal traits.Keywords: Cecília Meireles; Atlântico magazine; poetry; Brazil; Portugal.
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Paksuniemi, Merja, and Lauri Keskinen. "The ‘Guardian Group’ of Finland: Socializing Measures in the Little Lotta Organization during the 1930s and 1940s." Cultural History 6, no. 2 (October 2017): 190–208. http://dx.doi.org/10.3366/cult.2017.0149.

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The purpose of this article is to explore the education that a Finnish voluntary organization, Pikkulotat, the Little Lottas, provided for girls aged 8–17 in Finland during the turbulent and highly political 1930s and 40s. Little Lottas, and their adult counterparts the Lotta Svärd, were nationalistic organizations designed to work on the home front in case of war. From an outside perspective, their activity resembled the scout movement. The aim of the organization was to teach girls skills and knowledge that were to be used in national defence work. The Little Lotta organization had approximately 13,000 members in 1935, 24,000 members in 1939 and 52,000 members in 1944 when its activities were shut down due to political reasons. The primary data of this article consists of magazines Pikkulotta [Little Lotta] (1938–1943), Lottatyttö [Lotta Girl] (1943–1944) and Lotta Svärd (1934–1943). The specific aim of this article is to answer, by using Critical Discourse Analysis as a theoretical tool, the following questions: What were the attributes of a stereotypical Little Lotta? What ideology, skills and guidelines were passed on to readers of previously mentioned magazines? What do texts reveal about the historical context and prevailing culture in which the Little Lotta organization functioned? Results show that members of Little Lotta were given instructions, advice and recommendations that covered all aspects of life: physical appearance, morals, ideology, religion and so on. These measures had three somewhat overlapping aims: 1) to incorporate women into service for the country, 2) to spread officially approved ideologies to homes and, finally, 3) to raise future mothers.
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Dainese, Elisa. "Histories of Exchange." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 443–63. http://dx.doi.org/10.1525/jsah.2015.74.4.443.

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During World War II, interest in indigenous South African architecture deepened, leading to studies that challenged modernism and influenced architectural design. Histories of Exchange: Indigenous South Africa in the South African Architectural Record and the Architectural Review remaps the tension between modern and indigenous cultures during the 1940s and 1950s, examining the diaspora of ideas between South Africa and Britain and revealing a new genealogy of postwar architecture. Elisa Dainese addresses indigenous South African architecture as it was seen in the postwar years from the perspectives of two architectural magazines. In doing so, she provides a new theoretical framework that probes the role of architectural journals, considering them as alternative spaces where contact took place among European and African cultures.
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Law, Cheryl, and Magdala Peixoto Labre. "Cultural Standards of Attractiveness: A Thirty-Year Look at Changes in Male Images in Magazines." Journalism & Mass Communication Quarterly 79, no. 3 (September 2002): 697–711. http://dx.doi.org/10.1177/107769900207900310.

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This study examined images of male bodies in the popular magazines GQ, Rolling Stone, and Sports Illustrated, from 1967 to 1997. A sample of images was analyzed using an eight-point scale measuring levels of body fat and muscularity. Findings suggest that the male bodies featured in these magazines became more lean, muscular, and V-shaped (featuring a broad chest tapering to a narrow waist) over the years. Leanness and V-shape increased dramatically from the 1960s and 1970s to the 1980s, declining slightly in the 1990s. Muscularity increased progressively over the years, reaching its highest level in the 1990s.
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fakazis, elizabeth. "Esquire Mans the Kitchenette." Gastronomica 11, no. 3 (2011): 29–39. http://dx.doi.org/10.1525/gfc.2011.11.3.29.

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In this article, I examine representations of masculinity and domestic cooking in Esquire's “Man the Kitchenette,” a cooking column for men published in the 1940s. Using qualitative content analysis, I examine how these representations recoded an interest in food and domestic cooking (as well as other traditionally “feminine” interests) as appropriately masculine, nurturing the development of the positive image of the “male consumer” and paving the way for the emergence of future men's lifestyle and culinary magazines.
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Dissertations / Theses on the topic "1940s magazines"

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Young, Hilary. "Representation and reception : an oral history of gender in British children's story papers, comics and magazines in the 1940s and 1950s." Thesis, University of Strathclyde, 2006. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21645.

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This thesis explores the representation and reception of gender in British children's reading material during the 1940s and 1950s. Chapter One traces the methods and concepts I have used to investigate an audience history of reading. The relationship between gender and memory in oral history and the uses of audience reception theory are considered. Chapter Two considers schoolboy story papers and comics and the tension between middle-class and working-class masculinities presented in the material. Chapter Three focuses on the changing representations of femininity in three groups of material for girls: the schoolgirl story paper and comic; 'erotic bloods'; and women's service magazines. Chapters Four and Five reposition the actual readers at the centre of the text using oral testimony gathered in Glasgow and Mass-Observation replies to a directive on childhood reading. Chapter Four focuses on the memories of male narrators' reading experiences as young boys. The chapter considers the relationship between class and masculinity as experienced and identified by the readers in response to characters from the story papers and comics. Chapter Five is divided into two sections. The first considers women's memories of reading story papers and comics intended for both schoolgirls and schoolboys. The second section considers women's memories of reading older women's magazines at a young age to negotiate the transition from girlhood to womanhood. In addition Chapters Four and Five reflect upon wider activities associated with reading such as the acquisition of papers, the place of reading and the games and roles developed from the material. The gendered myth systems surrounding the activity of reading and how female and male readers negotiated, accepted and rejected these myths are also considered. In conclusion this thesis addresses the relative 'absence' of children's reading culture from earlier work in cultural historical studies, a cross-gendered consideration of popular childhood reading material and the wider relationship between gender and memory in oral history.
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Bryant, Malika S. "Johnson Publishing Company’s Tan Confessions and Ebony: Reader Response through the Lens of Social Comparison Theory." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618997653408659.

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Irving, Claire. "Printing the West Indies : literary magazines and the Anglophone Caribbean, 1920s-1950s." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3406.

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This thesis uncovers a body of literary magazines previously seen as peripheral to Caribbean literature. Drawing on extensive archival research, it argues for the need to open up the critical consensus around a small selection of magazines (Trinidad, The Beacon, Bim and Kyk-over-al), to consider a much broader and more varied landscape of periodicals. Covering twenty-eight magazines, the thesis is the first sustained account of a periodical culture published between the 1920s and 1950s. The project identifies a broad-based movement towards magazines by West Indians, informed and shaped by a shared aspiration for a West Indian literary tradition. It identifies the magazines as a key forum through which the West Indian middle classes contributed to and negotiated the process of cultural decolonisation which paralleled the political movement to independence in the 1960s. Chapter One explores the broad ways in which the magazines envisioned a West Indian literary tradition, before focusing on the tensions between the oral folk tradition and emerging print culture. Chapter Two moves to a closer focus on the middle-class West Indians publishing the magazines and the Literary and Debating Society movement. It argues that through their magazines these clubs sought to intervene in the public sphere. Chapter Three considers the marginalised publications of three key women editors, Esther Chapman, Una Marson and Aimee Webster and identifies how the magazine form enabled these editors to pursue wider political agendas linked to their cultural aims. Chapter Four returns to a broader focus on the magazines’ paratextual elements including advertisements and commercial competitions, to explore the business of magazine publication and the ways in which this shaped their contents and compilation. Overall, the cultural and material history of the magazines mapped by this thesis sheds new light on what remains an under-explored but critical period of Caribbean literary history, on the cusp of cultural decolonisation and formal independence.
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Bae, Catherine Yoonah. "All the girl's a stage : representations of femininity and adolescence in Japanese girls' magazines, 1930s-1960s /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Ritchie, Rachel Clare. "The housewife and the modern : the home and appearance in women's magazines, 1954-1969." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-housewife-and-the-modern-the-home-and-appearance-in-womens-magazines-1954--1969(f46704f8-d0e7-4f78-a963-b93e15583c55).html.

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In 1957 a number of women's organizations were involved in planning a government-sponsored Festival of Women - an event that indicates contemporary awareness of and interest in the changing position of women. This study is similarly concerned with the position of women in the 1950s and 60s, relating constructions of the 'modern' woman in women's magazines to post-war developments, such as increasing levels of consumption and changing leisure patterns. There are two major themes in the thesis: the housewife and the modern. The study illustrates the centrality of 'the housewife' while accentuating the breadth and complexity of post-1945 women's roles and identities, with a focus on two sites pivotal to constructions of femininity in women's magazines: the home and appearance. The study also explores how women's magazines shaped the modern, emphasizing the range of ways in which this notion was constructed and understood. The concept of social capital is used to examine the significance of the modern, looking at why it was so important and its connection with ideas of exclusion and belonging.The study looks at two magazines. Home and Country was the magazine of the National Federation of Women's Institutes, and hence it targeted rural women. Woman's Outlook, on the other hand, was the Women's Co-operative Guild magazine, aimed at working-class Guild members. Through comparisons between the two and with Woman, a mass-circulation weekly magazine, the thesis demonstrates that their respective rural and Co-operative identities were distinctive features that contrast with the urban and mass consumption viewpoints evident in other titles. These rural and Co-operative identities heavily influenced the perspectives of the organizational magazines and created alternative visions of the modern. The relationship of these features to post-war British modernity has received little attention, with historians' focus on the urban and the individual consumer positioning the countryside and the Co-operative movement as antithetical to the modern. However, this study reveals that rural and Co-operative interpretations of the modern enhance and develop understandings of key themes in 1950s and 60s British history such as national identity, consumer culture, generation and age. The thesis situates Home and Country and Woman's Outlook within broader social and cultural networks and shows the extent to which women's magazines operated as cultural intermediaries. The study also engages with a number of intersecting bodies of literature, such as revisionist accounts of domesticity and recent work on women's organizations, and contributes to various discussions including housing in post-war Britain and feminist analyses of fashion and beauty. This multifaceted investigation generates new insights into both the housewife and the modern, insights which offer a more complex and nuanced account of 1950s and 60s Britain and the position of women.
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.

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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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Yu, Ying. "The Fantastic in the 1960s and 1970s: the Idea of Subversion and an Exploration of Style." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281620327.

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Morin, Alice. "Au cœur des magazines ˸ de collaborations en négociations, le système des images de mode américaines (années 1960-années 1980)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA109.

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Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuron
This doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core
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Louw, Nicolette. "Grace and The townships h Housewife : excavating South African Black women's magazines from the 1960s." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/4064.

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Thesis (MA (English))--University of Stellenbosch, 2009.
ENGLISH ABSTRACT: Grace and The Townships Housewife, two black women’s magazines published in South Africa between 1964 and 1969, have slipped into obscurity. This thesis aims to write them back into the history of the black press, black journalism and literature in South Africa. The study is significant in that no research has as yet been conducted on these two magazines. The first chapter excavates Grace and The Townships Housewife from obscurity by providing information on the magazines’ publication, staff, editors, content, target audience and writers. A salient characteristic of both magazines’ content that the study discusses is the ambiguous attitude of readers and writers towards modernity and tradition (and the negotiation of new identities) as they move from the country to the city. Some readers’ embrace and others’ rejection of early signs of feminism and womanism in the magazines also display this ambiguous attitude. The chapter foregrounds the various ambiguities and often colliding voices that infuse much of the magazines’ content. The absence of explicit reference to apartheid in Grace’s and The Townships Housewife’s content provides another focal point of this chapter and is discussed in relation to the concepts of ‘minstrelsy’ and ‘mimicry’. Considering specifically the position of the black woman in apartheid South Africa, the second chapter compares the representation of white women in South African white women’s magazines Die Huisgenoot, Sarie Marais and Fair Lady to the way in which black women are represented in Grace and The Townships Housewife in the 1960s. The role of the latter two magazines in positively representing black women during apartheid South Africa, and thus standing in direct opposition to the identities ascribed to black people in colonial and apartheid ideology, is a primary focus of this chapter. The representation of black women in the 1960s is elaborated on in the next chapter which explores the shift in the representation of black women from Drum magazine (during its heyday in the 1950s), with its predominantly male staff, to the representation of black women in Grace and The Townships Housewife (in the 1960s), with their predominantly female staff. I hypothesise on the possible agencies at work within this shift in women’s representation. Despite the magazines’ adherence at times to white standards of beauty (an aspect which the thesis engages with throughout), the ‘creation’ of black women within the pages of Grace and The Townships Housewife (as the previous two chapters articulate), often resonates with Black Consciousness’s philosophy of black pride. This last chapter explores the possible connection between Grace and The Townships Housewife, on the one hand, and the early beginnings of an emergent black consciousness in South Africa in the late 1960s, on the other hand. It also discusses the sexism associated with black consciousness philosophy in relation to these two magazines, but the focus falls on how black female readers of Grace and The Townships Housewife negotiate imposed ‘female identities’ (for example, mother, housewife and supporter) towards greater agency.
AFRIKAANSE OPSOMMING: Grace en The Townships Housewife, twee tydskrifte gemik op swart vroue en wat in Suid-Afrika gepubliseer is tussen 1964 en 1969, is vandag onbekend. Die doel van dié tesis is om hierdie twee tydskrifte terug te skryf in die geskiedenis van swart joernalistiek en literatuur in Suid-Afrika. Dit is ’n waardevolle studie aangesien geen navorsing oor hierdie twee tydskrifte nog gedoen is nie. Dit is ook ’n ingewikkelde proses wat gepaard gaan met baie spekulasie, aangesien dit alreeds te lank gevat het vir hierdie tydskrifte om ontdek te word – dit is nie meer moontlik om die meeste van die bydraers tot hierdie twee tydskrifte op te spoor nie. Die eerste hoofstuk ‘grawe’ Grace en The Townships Housewife as t’ ware weer ‘op’ deur inligting te voorsien oor hierdie tydskrifte se uitgewers, personeel, redaktrises, inhoud, teikengroepe en skrywers. Die dubbelsinnige houdings wat lesers in die tydskrifte toon teenoor tradisie en moderniteit soos wat hulle beweeg van plattelandse gebiede na stedelike gebiede, is kenmerkend van hierdie tydskrifte en word in hierdie hoofstuk bespreek. Hierdie dubbelsinnigheid word ook weerspieël in lesers en skrywers se ambivalente houdinge teenoor die bemagtiging van vroue. Die verskeie dubbelsinnighede en dikwels botsende stemme in meeste van die twee tydskrifte se inhoud is ’n belangrike punt wat hierdie tesis uitlig. Die afwesigheid van direkte verwysings na apartheid in beide tydskrifte is nog ’n kenmerkende eienskap van die tydskrifte wat in hierdie hoofstuk ondersoek word. Met die fokus op die posisie van die swart vrou in apartheid Suid-Afrika, vergelyk die tweede hoofstuk die voorstelling van wit vroue in Suid-Afrikaanse wit vrouetydskrifte (Die Huisgenoot, Sarie Marais en Fair Lady) met dié van swart vroue in Grace en The Townships Housewife in die 1960s. ’n Primêre fokus van hierdie hoofstuk is die rol wat Grace en The Townships Housewife speel in die positiewe voorstelling van swart vroue tydens apartheid, in direkte kontras tot die voorstellinge van swart vroue in apartheid ideologie. Die volgende hoofstuk brei verder uit op die voorstelling van die swart vrou in die 1960s: hier word gekyk na die skuif wat plaasvind in die voorstelling van swart vroue van die Drum-tydskrif in die 1950s met sy hoofsaaklik manlike personeel, na die voorstelling van swart vroue in 1960s Grace en The Townships Housewife, met hoofsaaklik vroulike personeel. Die moontlike faktore verantwoordelik vir so ’n verandering in voorstelling word oorweeg. Alhoewel die inhoud van Grace en The Townships Housewife gereeld ‘wit’ standaarde van skoonheid ondersteun, toon die voorstelling van swart vroue in hierdie twee tydskrifte ook dikwels ooreenkomste met swart bewustheid filosofie se fokus op swart trots. Hierdie laaste hoofstuk ondersoek die moontlike verbintenis tussen Grace en The Townships Housewife, aan die een kant, en die vroeë begin van swart bewustheid in Suid-Afrika in die laat sestigerjare. Die dikwels seksistiese houdinge wat met swart bewustheid filosofie geassosieer word, word in hierdie hoofstuk bespreek aan die hand van voorbeelde uit Grace en The Townships Housewife. Dit is egter nie die fokus van hierdie studie nie: die fokus val op hoe swart vroue lesers van Grace en The Townships Housewife opgelegde rolle van moederskap, huisvrou en ondersteuners stuur tot posisies van groter mag.
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Moreau, Louise. "Making art modern, the first decade of Vie des arts magazine and its contribution to the discourse on the visual arts in Quebec during the 1950s and 1960s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26024.pdf.

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Books on the topic "1940s magazines"

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Bryant, Michele Wesen. WWD illustrated: 1960s-1990s. New York: Fairchild Publications, Inc., 2004.

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Walker, Nancy A., ed. Women’s Magazines, 1940–1960. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7.

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The great monster magazines: A critical study of the black and white publications of the 1950s, 1960s and 1970s. Jefferson, N.C: McFarland, 2008.

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South, David. Ger Magazine - Youth Issue: Online magazine about Mongolia's transition in the 1990s. Ulaanbaatar, Mongolia: UNDP Mongolia Communications Office, 1998.

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Gallery, Durban Art, ed. The Indian in Drum magazine in the 1950s. Woodstock, Cape Town: Bell-Roberts Publishing, 2008.

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The 1950s kitchen. Botley, Oxford: Shire Publications, 2011.

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All man!: Hemingway, 1950s men's magazines, and the masculine persona. Kent, Ohio: Kent State University Press, 2009.

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South, David. Ger Magazine - Modern Life Issue: An online magazine about Mongolia's transition in the 1990s. Ulaanbaatar, Mongolia: UNDP Mongolia Communications Office, 1999.

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Clear, Caitríona. Women's voices in Ireland: Women's magazines in the 1950s and 60s. London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2015.

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Gough-Yates, Anna Harriet. 'Seriously glamorous'?: The production of women's magazines and readerships in 1980s Britain. Birmingham: University of Birmingham, 1999.

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Book chapters on the topic "1940s magazines"

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Feeley, Kathleen A. "“The Great and Important Thing in Her Life”: Depicting Female Labor and Ambition in 1920s and 1930s US Movie Magazines." In Mapping Movie Magazines, 105–26. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33277-8_6.

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Turner, Mark W. "Introduction: Trollope in the 1990s." In Trollope and the Magazines, 1–6. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230288546_1.

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Walker, Nancy A. "Introduction: Women’s Magazines and Women’s Roles." In Women’s Magazines, 1940–1960, 1–20. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_1.

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Walker, Nancy A. "World War II." In Women’s Magazines, 1940–1960, 23–62. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_2.

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Walker, Nancy A. "Women and the Workplace." In Women’s Magazines, 1940–1960, 63–96. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_3.

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Walker, Nancy A. "Marriage and Motherhood." In Women’s Magazines, 1940–1960, 97–144. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_4.

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Walker, Nancy A. "Homemaking." In Women’s Magazines, 1940–1960, 145–92. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_5.

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Walker, Nancy A. "Fashion and Beauty." In Women’s Magazines, 1940–1960, 193–227. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_6.

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Walker, Nancy A. "Critiques of the Women’s Magazines, 1946–1960." In Women’s Magazines, 1940–1960, 228–61. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7_7.

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McCracken, Ellen. "Acquisitions, New Launches, and Adaptations: Women’s Magazines Enter the 1990s." In Decoding Women’s Magazines, 284–98. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22381-7_11.

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Conference papers on the topic "1940s magazines"

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Alyunina, Yulia. "Feminine Image In Fashion Discourse: Soviet Magazines of 1920s and Russian Blogs." In Psychology of subculture: Phenomenology and contemporary tendencies of development. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.07.9.

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