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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 fleuronThis 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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Clarke, Meaghan Emily. "(Re)constructing the feminine in art writing, the Canadian magazine Mayfair in the 1950s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26895.pdf.
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Clarke, Meaghan Emily Carleton University Dissertation Art History. "(Re)constructing the feminine in art writing; the Canadian magazine Mayfair in the 1950s." Ottawa, 1996.
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Scanlan, Patricia Hope. "English surrealism in the 1930s, with special reference to the little magazines and small presses of the period." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368111.
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Pagano, Jennifer Hoolhorst. "The evolution of Sunset Magazine's cooking department: The accommodation of men's and women's cooking in the 1930s." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3575.
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The Western regional magazine Sunset has been published under a series of owners and publishers since 1898. In 1928, Sunset was purchased by Lawrence Lane, a Midwestern magazine executive who transformed it from a failing turn-of-the-century, general interest publication about the West, into a successful magazine about living in the West for the Western middle-class. Sunset had always been a magazine for men and women, and one that appealed to both male and female intellectuals at the time Lane purchased it. Lane and his editors attempted to interject more rigid middle-class ideals into a magazine that had espoused ideas that were progressive and less structured. Lane's new strategy to compartmentalize Sunset's content into its four categories—gardening, the home, cooking, and travel—resulted in a magazine that was conventionally gendered. Tension due to this shift played out in the publication's new cooking department. This thesis traces the development of Sunset's cooking department between 1928 and 1938 under the direction of its creator and founding editor Genevieve Callahan through the examination and analysis of Sunset cooking features and oral histories. The original department, structured to model a middle-class domestic ideology, did not accommodate all of Sunset's readers. The Western intellectualism of pre-Lane readers and their tendency to be less bound by conventional gender roles in the kitchen carried over into Sunset's cooking department via reader recipe contributions. These Western cooks included men and women whose foodways deviated from that of the typical middle-class housewife. Callahan experimented throughout the cooking department's first decade by shifting its editorial framework and softening her home economics rigidity to create a department that was inclusive of women and men who cooked both inside and outside the kitchen. The changes made to the department over that decade illustrate how editorial experimentation reconciled a new middle-class-oriented cooking department to accommodate Western cooks less apt to model traditional gender roles.
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Leenaerts, Danielle. "Analyse historique et artistique du magazine Vu (1928-1940), hebdomadaire d'informations générales illustré par la photographie." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211383.
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Taylor, J. "From sound to print in pre-war Britain : the cultural and commercial interdependence between broadcasters and broadcasting magazines in the 1930s." Thesis, Bournemouth University, 2013. http://eprints.bournemouth.ac.uk/21079/.
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This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.
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Roberts, Chadwick Lee. "Consuming Liberation: Playgirl and the Strategic Rhetoric of Sex Magazines for Women 1972-1985." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1302714550.
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Stead, Lisa Rose. "Women's writing and British female film culture in the silent era." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3138.
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This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.
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Rodgers, Ronald R. "An untamed force : magazine and trade journal criticism of the new journalism and the rise of professional standards, 1890s to 1920s /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3191716.
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Guldimann, Colette. ""A symbol of the New African" : Drum magazine, popular culture and the formation of black urban subjectivity in 1950s South Africa." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1814.
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This thesis examines the emergence of black urban subjectivity in South Africa during the 1950s, focussing on the ways in which popular American genres were utilised in the construction of black urban identities that served as a means of resistance to apartheid. At the centre of this process was Drum magazine: founded in South Africa in 1951 , it became the largest selling magazine on the African continent in 1956. Drum's success was due to the way in which it enabled the relocation of black identity from the "traditional" towards the "modern'. The 1940s gave rise to widespread migration of black South Africans from rural to urban areas and this newly urbanised community was seeking models of black urban identity. Yet the Nationalist government was attempting to curtail the emergence of a black urban proletariat, which posed a threat to white political supremacy. Through apartheid legislation black identity was constructed as essentially tribal and rural. As a means of resisting this, urbanised black South Africans turned to, and appropriated, readily available forms of American culture. Drum published Americanised images and stories: gangsters, black detectives, black comic heroes, and pulp romances. This popular material appeared alongside some of the finest investigative journalism ever published. While Drum magazine is widely acknowledged as having provided a platform for the emergence of black South African writing in English, its popular content has been dismissed by critics as apolitical escapism, imitation and capitulation to American culture. This thesis challenges the dismissal of the popular that has dominated analyses of Drum since the 1960s, arguing that such a position denies the agency of local writers and audiences. My analysis reveals that American forms were adopted in critically discerning ways and chosen for their ability to convey local meaning and create positions from which to resist apartheid
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Larson, Christina F. "America Seen through the Work of Paul Sample." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427980908.
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Arseniou, Elizabeth. "Between modernism and the avant-garde : literary experimentation in the early 1960s in Greece (the case of the literary magazine Pali [1964-1967])." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322999.
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This study is an investigation of the role of the "little magazine" flriAZ, published in the early 1960s in Greece, as well as the work of its contributors. By experimenting with the use or abuse, expansion or minimisation of literary language, the group of flriAZ contributed to the constitution of the Greek 1960s and offered an alternative paradigm of a peripheral Western neo-avant-garde. The first chapter offers a brief account of the political and cultural background to the magazine's publication. The second chapter explores the tradition of the avant-garde "little magazines", the developments of Greek and international alternative press in the 1960s and the features of flaAz as a "little magazine". The third chapter reviews the developments of international and Greek I modernism and the avant-garde and examines the debates on literary modernity in the Greek criticism of the 1960s. The fourth chapter considers the work of Manto Aravantinou, Nikos Stangos and Kostas Tachtsis, three contributors of IlaAz whose literature introduced innovative oral and textual strategies. Chapter five explores the ways Alexandros Schinas views language and literature in his meta- fictional literary work. It examines his experimental techniques. analyses his "hyperlexist" contribution to IlaAz and his views on the language question. Finally, the sixth chapter explores the background of the magazine's "anti-realist generation". It examines their work within the context of international avantgarde and analyses their contributions to the reformation of the literary and cultural attitude during the 1960s.
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Champomier, Emmanuelle. "Contribution à l’histoire de la presse cinématographique française. Étude comparée de la genèse et de l’évolution de douze revues de cinéma entre 1908 et 1940." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA029.
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Source majeure de l’histoire du cinéma, la presse cinématographique française des premiers temps reste pourtant encore un vaste continent à explorer. À partir d’un corpus composé de douze revues couvrant la période de 1908 à 1940, cette recherche entreprend d’étudier les facteurs à la fois techniques, économiques et sociaux de la naissance et de l’évolution de la presse cinématographique française sur trois décennies. Envisagée en tant qu’entreprise de presse, dans sa dimension collective, chaque revue fait l’objet d’une étude méthodique de son identité, de ses spécificités, ainsi que des différentes mutations, administratives, techniques, économiques, formelles et éditoriales, subies. L’ambition première de cette thèse est de proposer une histoire autant de la presse que des journalistes. Elle aspire ainsi à définir la profession de journaliste et de critique de cinéma, telle qu’elle est perçue à l’époque par la corporation du cinéma ainsi que les journalistes et critiques eux-mêmes. La définition de cette fonction se fait également à travers la création de groupements professionnels, dont cette recherche espère avoir éclairé l’histoire et les péripéties qui la jalonnent. Le dessein poursuivi par ailleurs est de contribuer à une meilleure connaissance des hommes, journalistes et critiques, encore méconnus pour la plupart mais qui ont pourtant été des figures marquantes de leur époque, qui ont participé à la création de la presse spécialisée et à l’élaboration d’une pensée et d’une critique cinématographiques dans les années 1900-1930A major source for history of cinema, the early French film press however still remains a vast, unexplored continent. With a body of research composed of twelve film magazines spanning over the 1908-1940 period, this thesis aims to study the technical, economical and social factors involved in the birth and evolution of the French film press over three decades. Contemplated as a press organization, in its collective dimension, each film magazine is subject to a methodical study of its identity, specifications and various mutations – administrative, technical, economical, formal and editorial – incurred. The main ambition of this thesis is to propose a history of press as well as of journalists. The study thus aims to define the profession of journalist and film critic, as it is perceived in this period by the film corporation and the journalists and critics themselves. This fonction also defines itself through the creation of professional associations, the history and adventures of which this research hopes it has illuminated. The pursued purpose is also to contribute in a better knowledge of the men, journalists and critics, remaining mainly unrecognized to this day despite being major figures of their time, who participated in the creation of the specialized press and the formulation of a critical thought about cinema, in the 1900s-1930s
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Lebensztayn, Ieda. "Graciliano Ramos e a Novidade: o astrônomo do inferno e os meninos impossíveis." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-24112009-160650/.
Full textAbstract:
Apresento a Novidade, revista alagoana de 1931 que procurou combater chavões na política e na arte. Foram seus colaboradores: Alberto Passos Guimarães, Aurélio Buarque de Holanda, Aloísio Branco, Carlos Paurílio, Graciliano Ramos, Jorge de Lima, José Lins do Rego, Santa Rosa, Valdemar Cavalcanti, Willy Lewin. Como os jovens desse grupo reagiam ao sem novidades e foram chamados de meninos impossíveis, analiso uma cena de Sem novidades no front, de Erich Maria Remarque, e O mundo do menino impossível, de Jorge de Lima, percebendo no grupo elementos de modernismo, regionalismo, atualidade crítica e preocupação social. A partir de textos de alguns escritores do semanário, esboço seus perfis e apreendo sua postura crítica contra o lugar-comum de miséria, ignorância, violência e política personalista. Centrados nessas questões, sobressaem os textos de Graciliano Ramos na Novidade: o capítulo XXIV de Caetés e as crônicas Sertanejos, Chavões (inéditas em livro), Milagres e Lampião. Constituem a melhor expressão crítica da revista e deixam ver os impasses contidos em estereótipos, que o escritor combateu ao construir suas personagens. Estudo esses textos, vinculando-os a Nuvens e Os astrônomos (Infância) e, num movimento analítico-interpretativo de cenas e imagens centrais de S. Bernardo, Angústia e Vidas secas, busco a poética, essencialmente ética, de Graciliano Ramos. Desvelando o impasse do intelectual num mundo de violência, ele configurou, artisticamente juntos, os problemas sociais e morais de seus protagonistas, de modo a evidenciar, a um tempo, a ordem social iníqua, a necessidade de compreensão do outro e um sentido de vanidade de tudo. Esforçando-se por compreender as semelhanças e diferenças entre as palavras, as coisas e os seres, resistiu ao lugar-comum por meio da escrita literária.I introduce here Novidade, a magazine published in 1931 in Alagoas, a Brazilian northeastern state, whose main purpose was to combat platitudes in politics and art. Some of its contributors were: Alberto Passos Guimarães, Aurélio Buarque de Holanda, Aloísio Branco, Carlos Paurílio, Graciliano Ramos, Jorge de Lima, José Lins do Rego, Santa Rosa, Valdemar Cavalcanti and Willy Lewin. Since the young among the group reacted against the lack of novelties and were called meninos impossíveis (impossible boys), I analyze a scene of Erich Maria Remarques Sem novidades no front (All quiet on the western front) and Jorge de Limas O mundo do menino impossível, apprehending in the group traits of modernism, regionalism, critical current issues and social concern. From texts of some writers of the magazine, I present their profiles and apprehend their critical attitude against the commonplace of misery, ignorance, violence and personalistic politics. Focused on those questions, Graciliano Ramos texts in Novidade stand out: the chapter XXIV of Caetés and the articles Sertanejos, Chavões (unpublished in a book form), Milagres and Lampião. They are the best critical expression of the magazine and permit seeing the impasses present in stereotypes, which the novelist fought against when he built his characters. I study those texts, linking them to Nuvens and Os astrônomos (Infância) and, in an analytical-interpretative movement of central scenes and images of S. Bernardo, Angústia and Vidas secas, I quest for Graciliano Ramos essentially ethical poetic. Revealing the intellectuals impasse in a world of violence, he set up his protagonists social and moral problems, artistically embodied together, showing, at the same time, the unequal social order, the need for understanding the other and a sense of vainness of everything. Straining to comprehend the similarities and differences among words, things and beings, Graciliano resisted the commonplace through literary writing.
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Joly, Noémi. "ZERO et le devenir immatériel de l’art à l’épreuve de la technique, 1958-1964." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040048.
Full textAbstract:
ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensibleZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience
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Bečanová, Nikola. "Anotovaná bibliografie díla Růženy Vackové z let 1929-1948." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436341.
Full textAbstract:
This thesis is a complete bibliography of texts written by Růžena Vacková published in between years 1929 and 1948, supplemented by contemporary contextualisation of the time and characteristics of individual periodicals in which these texts appear. A substantial part of this study deals with magazines Vacková has contributed to consistently for a long period of time. This study presents a brief biographical summary, serving to facilitate the classification of individual texts and their relation to the author's persecuted life. The study also includes a brief outline of her views as an author and as an critic. Keywords: Růžena Vacková, bibliography, criticism, magazines of the 1930s and 1940s
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HUANG, SHIH-YING, and 黃詩瑩. "The Exploration of Women's Rights Development in Taiwan's Magazine Awakening in the 1980s and 1990s." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/3sq28b.
Full textAbstract:
碩士國立臺北教育大學
社會與區域發展學系碩士班
107
Looking back on the development of Feminism in Taiwan, Lu Xiulian's New Feminism sounded the morning bell of the women's movement in the 1970s. In 1982, Li Yuanzhang established the Awakening Foundation and published the magazine Awakening to awaken the consciousness of self within women. It was concerned with women’s issues and fight for women’s rights to reach a gender-equitable society. This research uses textual analysis to explore the issues of feminism in the 1980s and 1990s magazine Awakening. The research purposes are: (1) To explore the issues of "women's physical autonomy and personal safety" in the magazine Awakening. (2) Exploring how magazine Awakening promotes gender equality in life. (3) Summarizing the relevance between magazine Awakening and the development of women's rights and summing up its effectiveness. This research divides the topics of concern in magazine Awakening into two major aspects, which are then partitioned into nine issues to further explore how they are promoted. "Women's physical autonomy and personal safety" includes: criticizing beauty pageants of objectifying women, supporting women's reproductive rights, demonstrating against child prostitution, establishing the Sexual Assault Prevention Act to protect women's personal safety, and constituting Family Violence Prevention Act to prevent violence in marriage; on the other hand, the daily gender equality issues include: amending The Part of Family of the Civil Code, emphasizing the importance of women's political participation and reforming textbooks’ Gender bias and discrimination. Awakening is indispensable for the development of women's rights in Taiwan. It calls on women to be conscious and to participate in social movements, to care about policies and promote the formulation and revision of laws to achieve gender equality goals. The relevance of magazine Awakening and women's rights development is inseparable. It represents the development of Taiwan's women's movement. In an era of vigorous social movements, it pays attention to women's issues in an multifaceted way and contributes a lot to women's rights and interests.
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Boovy, Bradley Robert. "Men reading men : homophile magazines in 1950s West Germany." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6032.
Full textAbstract:
This study focuses on how homophile magazines functioned to bring homosexual men together as readers and members of unique reading publics in the wake of National Socialist persecution of homosexuals, and in the context of postwar reconstruction, cultural normalization, and the Cold War. Through a combination of close and contextualized analysis, I argue that the magazines Die Freundschaft, Die Insel, Der Weg, PAN, Hellas, and Der Ring, created a space in which contributors and readers could articulate and come to understand their experience as homosexual West Germans. Through homophile magazines, they engaged in discourses that had bearing on their lives as homosexual men, yet the magazines also spoke to their concerns and interests as men living in the early Federal Republic. Thus on the one hand, homophile magazines provided forums for debate and discussion of homosexuality and other issues of interest to readers such as the nature and genesis of same-sex desire, the “role” of the homosexual man in society, campaigns for reform of Paragraph 175, or portrayals of same-sex desire in world literature. On the other hand, I argue that homophile magazines also reflected contributors’ and readers’ engagement with other, seemingly unrelated West German
publics beyond the ones engendered by the magazines themselves. As my examination of the magazines reveals, numerous points of intersection emerged between homophile publics and the larger West German public sphere under conditions of reconstruction. As such, this study contributes to scholarship on homophile cultural production and expands our understanding of sexual publics by asking both how West German homophile magazines were unique and how they were uniquely West German.text
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McKnight, David. "An annotated bibliography of English-Canadian little magazines: 1940-1980." Thesis, 1992. http://spectrum.library.concordia.ca/4821/1/MM90866.pdf.
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Ling-Jr, Kung, and 孔令芝. "Modern Women : Making Image of 1930s Shanghai through Linglong Women’s Magazine." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/52935778120286901187.
Full textAbstract:
碩士國立暨南國際大學
歷史學系
94
Linglong Women’s Magazine was a weekly picture magazine published in Shanghai in the 1930s. It is pocket-sized format. The magazine’s goal was to “enhance women’s beautiful life, and advocate refined entertainment in society.” Linglong strongly encouraged readers’ feedback and contributions. It encouraged its readers to speak up for themselves. A substantial portion of each issue was devoted to articles by readers and photographs of their daily lives. In my thesis, the main idea is to discuss the image-making of modern women in Linglong. In chapter two, I’d like to introduce the editors, readers and the press of Linglong. From chapter three to five, I’d like to discuss how the outside beauty, the love world of inner minds and the useful knowledge create the modern women image. Linglong speaks for women’s heart. It presents the hope of Shanghai women towards the independence and freedom in the 1930s decade. In fact, they combine both tradition and modern features. They are not only good mother, wife but also modern women. Linglong let us know the modern women’s confidence, intelligence, health, and good morality. They are both the pioneers of the fashion statement and the ideal mothers always taking care of her family. It is the image that Linglong tries to tell us.
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Wei-ting, Tseng, and 曾暐婷. "The Visual Designs of Taiwan Tourism in the Official Tourism Magazines in the 1960s." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/kfbwar.
Full textAbstract:
碩士國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
103
After its unsuccessful military campaign against the Chinese Communists during the Civil War, the Nationalist Government moved to Taiwan and proclaimed its legitimate status as the sole representative of China. With the military support and financial aid given by the United States, private and official organizations in the Republic of China (R.O.C.) were established to promote Taiwan tourism, expecting to attract foreign tourists, to earn foreign exchange and to win international recognition as the ‘Free China’. Since the 1950s, the R.O.C. government has nonetheless created an official visual industry in promoting Taiwan tourism. This dissertation examines three major official tourism (Guanguang) magazines and analyzes the tourist literature as well as the scheme via which specific photographs and paintings were selected and organized. Borrowing the theories from Dean MacCannell’s tourist attraction, John Urry’s tourist gaze and W. J. T. Mitchell’s landscape and power, ‘Chinese traditional culture’ or ‘visual Chineseness’ will be revealed and proved to be the focal point of R.O.C.’s tourism industry in the 1960s.
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Liu, Guei-Jyun, and 劉桂君. "Discourse analysis of modern motherhood constructed in Fuyou magazine in the 1960s." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/77551321705289769888.
Full textAbstract:
碩士國立中山大學
傳播管理研究所
101
KMT withdrew to Taiwan in 1949 after the end of the world war. In order to reinforce the differences between “Free World” and “Communist World”, KMT rebelled against Communist and Russia. KMT declared a state of emergency and general mobilization. During the war, the women discourse also followed the leading of authoritative women organization. Kuomintang Women’s Working Committee published Fuyou monthly to propagandized women policy, encouraged women to work and improve women’s lives. Besides fighting against the ideology of communist, economic development is the symbol of modernity. During 1960, the economic development in Taiwan was transformed from agricultural into light industry. Under the labor-intensive industrial policy, Taiwan was short of labor force due to developing industry too rapidly. The shortage of the labor force increased job opportunity for women. On the other hand, Obligation education extended from 6 years to 9 years after KMT took over Taiwan. This policy let women highly educated. Education development enhanced labor forces. Most young working women were graduated from high school. Those educated working women were “modern”. Modernity is the characteristic that traditional women did not have. This study examines Fuyou monthly from the perspective of modernity. Two points are aimed at. One is what language strategy did Fuyou monthly use to construct motherhood knowledge. The other is how traditional motherhood was articulated with modernity in Fuyou monthly. Drawn on the knowledge/power perspective based on Foucault, the study selects and analyzes 105 volumes of Fuyou published during the 1960‘s to explore how the government selected different elements from the “modern” and “traditional”, “west” and “ east,” and combine them with Chinese traditional culture to constructed so-called “Modern Mother” The study shows that there were 2 kinds of discourses about motherhood knowledge. One is based on science. This discourse emphasized that it is a must to raise a child with the understanding of medical science and child psychology. Mother and the way to raise a child were disciplined and monitored by medical hegemony and technocratic. In addition, with the influences of industrial revolution, household technology emerged, which increased housework and raised the standard of being a good mother. What Motherhood should be expanded. The other discourse about motherhood knowledge is how to be a mother under national development. Being educated career women, mothers were taught to put their families in the first place to benefit the development of country. The image of a Mother in Fuyou monthly was a devoted one who needed to take care of her family and go out to work. Meanwhile, based on the discourse that child is the root of a country, Fuyou promoted the democratic parent-child relationship. The study suggests that scientific motherhood and motherhood under nationalism have been both constructed as “modern” and “advanced”. Modern Motherhood in Taiwan has been simultaneously influenced by American modernity emphasizing the realization of Western motherhood as well as Chinese traditional gender norm which continues accentuating mothers'' roles in childcare, which reinforcing the age-old concept of "men managing external affairs women internal." Therefore, it can be said that the formation of modern motherhood was not only based on the new and western ideas but also on traditional feminine gender roles in response to the nation''s development policies; both factors are able to be discovered in Fuyou''s narratives on motherhood. Fuyou''s narratives indicate that Taiwan''s modernization is not really as advanced, revolutionized and anti-traditional as the West describes, but mingled with the Oriental tradition which demands mothers to perform chores and stay at home.
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Hsieh, Tsung-han, and 謝宗翰. "The Study of Interdisciplinary Arts in 1960s Taiwan: Centering on the Designer Magazine." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2g4np4.
Full textAbstract:
碩士國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
106
In 1960s, Taiwan under the background of developing design concepts and foreign literary trends being introudction , the magazine play the role as exhibitions and message production, weaving the communication among the artists in different fields. Opens up not only the reflection of the essence of art, but also the preliminary cohesion of the concept of contemporary art, so that shape the significance of artist in between the interdisciplinary activity. As the research object, Designer magazine which published in 1967, contents widely contained fields of art, design, advertisement, architecture, etc, and communicated with Hwa-Wai Association, Free-Form Art Exhibition, 70s Super Exhibition; furthermore, it held avant-garde art practice of Huang-Kuo-Su Exhibition, spreading new perspectives about graphic design and shaping the multiple phases. To observe the interactive thoughts and dialogues among the artists inside the magazine, this thesis will focus on analyze Designer magazine and the various kinds of exhibitions which had the relationship or progress with it in 1960s. Using the framework to gaze at the possibility of taking magazine as a space, and outline the significance of transgression in 1960s Taiwan art history.
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Snowden, Lorraine Caroline. "Constructing the Canadian teenager : the Star Weekly Magazine and representations of the young during the late 1940s." Thesis, 1997. http://hdl.handle.net/2429/6428.
Full textAbstract:
While the postwar era has attracted a great deal of attention in recent years, the experience of
young Canadians through the late 1940s has been largely overlooked. As a result, the postwar
phenomenon of teen culture, and construction of the Canadian teenager, have relied heavily on
American interpretations. This thesis, by examining the Canadian scene, suggests the beginnings
of another perspective on the postwar positioning of adolescence in the English-speaking world.
Focussing on the immediate postwar years (1945-1950), representations of young people will be
assessed through a popular medium, The Star Weekly Magazine. If the opinions reflected in this
widely distributed Canadian periodical are any indication, attitudes were shifting dramatically
through these years. In the immediate aftermath of war, the development of Canada's young was
rarely addressed by Star writers. By 1950, the subject was front and centre. Driven by
developments in the field of mental health, Star contributors grew preoccupied with the
construction of well-balanced citizens. Young Canadians were at the centre of this movement.
If young people matured over a longer period of time, they would be less likely to follow in the
wayward path of parents. This was the message relayed through Star writings during the late
1940s. While presented in progressive terms, as an opportunity for young people to internalize
essential values and develop social skills, The Star's emerging ideal was somewhat of a mixed
blessing. In contrast to earlier counterparts, Canada's postwar teenagers were to be continuously
monitored and subject to the dictates of parents.
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Park, Hyunyoo, and 朴炫惟. "Construction of Folk Scenes in 1970s Taiwan and Korea: "Rock Magazine" and "Monthly Pop Song"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bb2hs9.
Full textAbstract:
碩士國立臺灣大學
音樂學研究所
106
This research examines the issue of localization of popular music through folk music in the 1970s Taiwan and South Korea. Two representative pop music magazines in this period, Rock Magazine (Taiwan) and Monthly Pop Song (Korea), are examined and compared to show how the American folk as a genre was localized and modified, and what the possible reasons would be. The two magazines are valuable data which show how Anglo-American popular music was promoted and localized each in Taiwan and Korea. Furthermore, the publications contributed greatly to the construction of domestic pop scenes and connections between participants of the music scenes, not only promoting the pre-existing overseas popular music. In particular, the magazines participated actively in the emergence of domestic folk scenes. Folk music was one of the most prevalent musical trends of the youths in the 1970s Korea and Taiwan, along with other genres of overseas-oriented popular music. Korean and Taiwanese youths participated in constructing new domestic folk scenes as audience, musicians, and workers in the music industry, arousing changes in domestic pop music environments. They adopted many musical elements in the American modern folk revivals, but domestic folk scenes were placed in different contexts from American ones. Specificities of Korean and Taiwanese folk come from the historical contexts of domestic pop scenes, as well as different mindsets of scene participants, which are shown through these two magazines. As well as analyzing the publications, this research also tries to give an overview of popular music and the emergence of folk in Korea and Taiwan. The 1970s Korean and Taiwanese folk, as genres and scenes, were two separate phenomena in themselves. Still, this paper examined, compared and contrasted the two different cases together, starting from several notable common features of folk’s development in Korea and Taiwan. Multiple reasons, including political limitations under authoritarian regimes, specific socio-cultural conceptualizations of youth, and prevalence and internalization of Anglophone pop music, are mentioned as the reasons for similarities. At the same time, through investigating magazines and other related materials, this research also dealt how Korean and Taiwanese folk, which share the root of modern American folk, diverged under different domestic circumstances.
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Hsieh, Hsin-Ting, and 謝欣廷. "Monetary World, Distinctive Body, Indecisive Women ── A Study on Taiwanese “Mental-Urbanization” from Popular Magazines During the in 1930s." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5v43g3.
Full textAbstract:
碩士國立高雄師範大學
臺灣歷史文化及語言研究所
107
The modernity experienced by Taiwanese society during the Japanese occupation period is a modernity without subject construction, and it is the "refracting modernity" brought about by Japan after the Meiji Restoration. In order to express the embarrassing interval in Taiwans modernity, this paper explores the term "spiritual urbanization" based on its own research results, pointing out that "urbanization" is the key to Taiwans transition from traditional society to modern society. The guidelines silently guide people on how to arrange daily life and plan life course. "Psychic urbanization" is the destruction and renewal of traditional values and the exploration of new values in the process of modernization of Taiwanese social groups during the Japanese occupation. Construction, the dynamic trajectory of the presented mind, In order to explore the spiritual construction project in the social life of the Taiwanese society during the Japanese occupation period, this thesis conducts qualitative investigations through important newspaper publications during the Japanese occupation period, and analyzes three key performance paths: "money", "body", " According to the research results, the names of the three paths are: "The world of money, the body of a show, and the movement of women." This thesis is divided into five chapters. The first chapter "Introduction" establishes the basic concept of "spiritual urbanization" and confronts this topic of "modernization". The second chapter, "Money World", outlines the origin of the monetary concept during the Japanese occupation period, and explains the emergence of banknote currency after the currency reform, so that the Taiwanese social group has a new change in the space and meaning of the concept of land and occupation. The third chapter, "Sexual Body", examines the pursuit and acceptance of new norms and new values by Taiwanese society during the Japanese occupation period through specific changes in body images such as haircuts, footing, modification, and dancing. The fourth chapter, "Wandering Women", pays attention to the image of female students and professional women in newspaper publications, and finds that they have extended their life stages through academic and career forms. The fifth chapter "Conclusion" summarizes the full text, and summarizes the research results of this paper, and presents conclusions, deficiencies, and future prospects.
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Chu, Lung-Hsing, and 朱龍興. "The image and influence of intellectuals in 1930s’ Shanghai: centered on the Young Companion Magazine (1926-1937)." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/z2s337.
Full textAbstract:
博士中原大學
設計學博士學位學程
102
This thesis investigates the image and influence of intellectuals in 1930s Shanghai through the lens of the Young Companion Magazine (1926–1937). From a historical perspective, the image of intellectuals indeed revealed different patterns in terms of class and gender issues. The significance of the transformation not only indicates the character of printing media but also of designers. In addition to confronting the differences between the East and the West, the intellectuals in Shanghai have to mediate changes from the past to the present regarding arts and culture. In this situation, applied arts’ importance increased sharply. Furthermore, Shanghai provided a starting point for the exploration of design in modern China, while progress in multiple directions, such as national and commercial design, built up an exceptional urban culture in 1930s Shanghai.
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Ko, Ching-Chi, and 柯景棋. "Reflections on the Society in Taiwan in 1980s: A Study Based on The World We Live Magazine." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/jfg4sz.
Full textAbstract:
博士中國文化大學
史學系
103
It was a crucial period for Taiwan of its transformation in the 1980s. It included the transitions of politics, the developments of economics and the changes of society, all of which deviated from the traditional context. To find a new way out, the intellectuals penetrated into and gave illuminating insights to the underlying social problems beset Taiwan at that time. The World We Live magazine, which was brought out in November 1985, typically presented the spirit of the time. The World We Live magazine kept the left wing tradition in Taiwan alive, taking the point of view of the hard-working masses, probing into the problems of humanity, history, society, way of life, and environment. The magazine uncovered the pattern of social developments in Taiwan during the forty years after WWII, making an intense criticism of the Cold War structure in Taiwan and its influence on the society. This dissertation sorts out and analysis comprehensively the articles in The World We Live magazine, of which a total of 47 issues brought out, with the approaches of ‘textual analysis’ and the exploration of the historical context. This dissertation aims to expound the characteristics of the society and the social movements in Taiwan in the 1980s, attempting to interpret the difficulties of the social development in Taiwan in this period. This dissertation consists of seven chapters. The first chapter is an introduction to the origins, motives, purposes of the research; as well as to literature review and methods or theories the research adopted. By means of historical review, the second chapter ‘1980s: Taiwan in Transformation’ analysis the circumstances in Taiwan in the 1980s from political, economic, and cultural perspectives. The third chapter ‘The Inheritance of the Left in Taiwan’ aspires to achieve the goals as follows: Introducing the developments of the left wing and the intellectuals of the left in Taiwan in different periods, making efforts to explain the context and inheritance of the developments, inferring from which that the real intentions Chen Ying-Zhen founded The World We Live magazine. Chapter four ‘Issues in The World We Live Magazine’, which plays a pivotal role in this dissertation, carries out a comprehensive examination of The World We Live magazine textually as well as graphically. By means of which, the author attempts to compensate for the limitations in previous studies of this magazine. Scrutinizing the impact of this magazine on the social movements in Taiwan in 1980s is the main purpose of chapter five ‘The World We Live magazine and the social movements in Taiwan in the 1980s.’ The sixth chapter ‘The cover stories of The World We Live magazine and its meaning’ shows that the cover stories of each issues had been reflected the rapid transitions of political and social problems in Taiwan in 1980s; furthermore, this chapter analysis the process of the The World We Live magazine from its start, transformation to the end. Finally, the last chapter reaches a conclusion on the reflections on the society in Taiwan and makes an examination of the developments and influences of the issues mentioned above.
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Wang, Chun-Jung, and 王淳容. "Women’s Magazines’ Portrayal of Modernity and the Urban Narrative of Shanghai in the 1930s: A Study Based on The Women’s Pictorial." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ac623x.
Full textAbstract:
碩士國立清華大學
中國文學系
104
This study uses the pictures and articles in issues of The Women’s Pictorial (from 1933 to 1937) to discuss how the magazine portrayed women in the 1930s’ Shanghai and analyzes how women’s images in the publications had an influence on their daily life. Shanghai in the 1930s was a bustling metropolitan city as well as the cultural center of China. In the consumer society of the day, which was highly reader oriented, “pictorial culture” became a popular contribution of the publishing industry in Shanghai. However, some pictorials distinguished themselves from the others that were full of pictures by publishing literature works of famous writers. The Women’s Pictorial was one among these unique literary pictorials; it was edited by the cartoonist Guo Jianying and several works of Chinese modernists were published in its issues. However, the concern of this study is to analyze the urban woman, the subject of The Women’s Pictorial, from two perspectives: commercial marketing and experimental literary forms. I first investigate the pictorial market in the 1930s’ Shanghai and the historical background of the Liang You Company. Second, I discuss the gender issues in The Women’s Pictorial by specifically examining the visual and rhetorical forms of pictures and articles. Finally, I aim to reveal how The Women’s Pictorial depicted the urban narrative in its unique content.
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Martin, Jason. "La rhétorique de l'image de guerre dans le magazine Life de 1936 à 1946 : analyse critique et création d'un site web." Thèse, 2011. http://www.archipel.uqam.ca/4357/1/D2226.pdf.
Full textAbstract:
Je suis un designer graphique de formation. Après des études à la maîtrise en communication spécialisées en multimédia, je me suis consacré à la création d'applications numériques et de sites Web. Ce champ d'activité réunit mes habilités en tant que graphiste, programmeur et spécialiste en communication. J'ai un grand intérêt pour le pouvoir qu'exerce l'image sur la société, et en particulier pour le sujet de la guerre et de la propagande. En outre, la façon dont nous conservons et transmettons les objets culturels qui s'y rapportent m'intrigue et m'amène à questionner les vecteurs et les modes de transmission. LIFE magazine est un parfait exemple d'un objet culturel qui a traité le sujet de la guerre et qui a tablé sur le fait que l'image pouvait relater un événement et exprimer des idées. Ce magazine qui a accepté pendant la période de la Seconde Guerre mondiale de soutenir la position du gouvernement américain, a eu une présence importante dans les foyers des américains et à l'international. Cette thèse comporte deux volets : la création d'un site Web consignant les données visuelles et documentaires qui ont servi de base à la recherche que l'on retrouve dans le second volet, la thèse comme telle. Cette thèse examine le traitement photographique du magazine LIFE entre 1936 et 1946 quant à l'implication des Américains dans la Seconde Guerre mondiale. L'introduction présente d'abord le contexte historique de la Seconde Guerre mondiale, l'évolution de la position des États-Unis face à ce conflit et la naissance et la mission de la publication hebdomadaire LIFE. Elle aborde aussi le cadre théorique qui a servi à analyser ces photographies de guerre et les liens entre les photoreportages de LIFE et l'évolution de la position américaine. Le premier chapitre introduit l'approche méthodologique qui a servi pour la recherche et pour la création de l'œuvre multimédia. Le deuxième chapitre dévoile mon projet de recherche-création, qui est un site Web destiné aux images étudiées dans le cadre de cette thèse. Le troisième chapitre explore, par la médiologie, les différentes technologies existantes à l'époque de LIFE pour susciter une meilleure compréhension de la réalité et du rôle du média imprimé à l'époque de la Seconde Guerre mondiale. Le quatrième chapitre liste les figures de rhétorique retenues pour leur pertinence et la fréquence de leur occurrence. Le cinquième chapitre analyse les photos retenues en fonction des figures de rhétorique visant à démontrer qu'il y a un lien intime et dynamique entre les effets rhétoriques des images de guerre présentées par LIFE et les grands moments de l'histoire de la Seconde Guerre mondiale. La conclusion est appuyée de statistiques qui démontrent l'intérêt que LIFE apportait aux différents moments historiques. En ce qui concerne l'œuvre, nous pouvons le consulter à l'adresse suivante : www.images-de-guerre.org. Il s’agit d'un site Web dédié aux pages du LIFE de 1936 à 1946 qui ont eu pour sujet la guerre qu'elle soit une image de combat, un document photographique militaire démontrant les exploits, une image pour encourager les efforts de guerre de la maison jusqu'au front, une critique gouvernementale ou sociale, une image ludique pour démocratiser la science de la guerre, une photo satirique de l'ennemi, un cliché de célébrations, etc. Celui qui explore ce site peut accéder aux images soit par périodes chronologiques ou par une sélection thématique. Il peut également consulter une frise chronologique des événements historiques de cette période étudiée et voir les pages du LIFE qui relatent ces événements. Toutes les images présentées dans cette thèse s'y retrouvent avec leur analyse ainsi que plusieurs autres images qui ont été considérées, mais qui n'ont pas été retenues pour cette thèse. Par la suite, pour complémenter la lecture des internautes qui visitent ce site, ils peuvent consulter une section de type glossaire qui définit les figures de rhétorique expliquées à partir d'images sélectionnées et une section, qui explique les technologies et la médiologie de LIFE.
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Šimůnková, Lucie. "Zlatý máj - časopis o umění a literatuře pro děti a mládež a osobnost Z. K. Slabého." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329049.
Full textAbstract:
Master thesis Zlatý máj - Magazine about Children's Literature and Art and the Personality of Z. K. Slabý follows foundation and history of Czechoslovak literary journal Zlatý máj. It has been published from September 1956 till December 1997, when 391 issues came out in forty one volumes. The magazine experienced its golden era in 1960s, when it participated not only in domestic, but also in international discussions about children and youth literature. But it also endured through the time of so called normalization (1969 - 1989), when most of literary or cultural magazines perished, and its final end was brought by lack of finance after formation of democratic Czech Republic. The name of writer and literary critic Zdeněk Karel Slabý has been tied to Zlatý máj for the most of its existence. He acted at first as the redactor, in two periods as editor in chief (1968 - 1971, 1990 - 1992) and at last as a member of board of editors. As a part of his job, but also because of his active and creative nature he shaped or co-shaped the image of Zlatý máj. His authorial signature is visible in his texts, his opinions and preferences formed the sections and content of the magazine. Master thesis analyses the work of Z. K. Slabý and defines its place and importance in context of the literary theory and critique.
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Lin, Yu-Fang, and 林雨芳. "The constitution of a new mode of“ modern ” life in Shanghai in 1930s ─ analysis of the advertisements in the magazine Linglong." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/87358177374219153171.
Full textAbstract:
碩士淡江大學
法國語文學系碩士班
95
This research emphasizes on analyzing the advertisements and the images in the magazine Linglong to see how it built up the “modern” life in Shanghai in 1930. Instead of tending to represent the reality of that specific time, the studies of decoding the picture and the discourse which are the most fundamental elements of a myth, became the first aim of the author. In other words, it’s the process of giving a birth to a myth drawing the best attention of the author. From the viewpoint of post-colonialism, Homi. Bhabha’s mimicry theory is believed to have a better interpretation of this half-colonized city, Shanghai, showing people how this legendary metropolis bowed to the Western cultural hegemony, and then, combined with their own traditions and customs to develop the distinguishing characteristic of a city. In the meantime, some other works of literature and of cinema are also highly considered in order to have a more complete vision of the mass media in 1930 towards this particular moment. In conclusion, it will be more significant to transmit the interaction between China and Western to Taiwan and China in the future study.
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LIN, SHU-Hui, and 林恕暉. "Left-Wing Media in Taiwan in the 1990s: A Case Study of “The Masses” Magazine and the “Voice of the Masses” Radio Station." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/73u846.
Full textAbstract:
碩士中國文化大學
新聞學系
105
The Masses magazine (March 1993–April 1994) and the radio station “Voice of the Masses” (June 1994–December 1998) were the last wave of dissident left-wing media in Taiwan in the twentieth century. This study conducted an in-depth interview with the founding members, including Chang Ching-Tse, to discuss the origin of the political non-nationalist political movement and left-wing movements in the 1970s and its subsequent development. Chang experienced judicial persecution when he served as the mayor of Jiaoxi Township, Yilan County. After fleeing to the United States in 1977, Chang was exposed to the left-wing ideology of oversea students and compatriots, leading to sociopolitical movements with a strong class consciousness. Through protests held by antinuclear, environmental, and labour movements, the left-wing group established a path for the peasants and working class in Taiwan. Consequently, The Masses and Voice of the Masses served as a media platform for the quasi-political party against the Kuomintang. A fierce political divide conflict between the pro-unification and pro-independence people identified with China and those with Taiwan occurred during the Taiwanese municipal and provincial elections of 1994, and the strong class consciousness exhibited by Voice of the Masses peaked the assembly of protesters. However, Taiwan’s first-ever direct presidential election in 1996 symbolised and highlighted the identification of geography and the state apparatus similar to the political development in countries with established democracies. Consequently, the class consciousness of the working class in Taiwan was remarkably faded as the democratic and national consciousness of the bourgeoisie emerged as the new cultural hegemony. Given the fact that the left-wing movement led by Chang and his comrades began to decline and resulted in the demise of The Masses and Voice of the Masses. Nonetheless, the even had brought a significant impact been on the development of the left-wing movement in Taiwan ever since.
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Facada, Mariana Aguiar de Oliveira Franco 1988. "Magazine da mulher : reinterpretação gráfica e editorial de periódicos femininos do Estado Novo." Master's thesis, 2018. http://hdl.handle.net/10451/35118.
Full textAbstract:
The Editorial Design of the era of Estado Novo had as it’s main purpose the propaganda of certain ideals and principles. It was, therefore, an instrument of the Portuguese Government used in order to disseminate and propagate these same ideals. At a time when there were rules and prejudices about women’s behavior, such as the concept of
the Return of Woman to the Home and the Ideal Woman, whose sole purpose should be to serve others, to marry and to constitute a family, the editorials objects intended for the female sex, also represented a vehicle for the transmission of these values and contributed to the manipulation and implementation of this ideology in the mentality of
the women of this time. Thus, this project focuses on the feminine periodicals of the 1940s and 1950s, in order to analyze and identify the various characteristics of the Design applied to these graphic
objects, and to evaluate how they contributed (or not) to the idealized image of the Woman of Estado Novo. Finally, on the basis of this research, it is intended to summon through design and a
current view on the subject, a reflection and reinterpretation around the construction of an idealized image of women, creating a book / archive that proposes new significant relationships between its original contents
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McKetta, Dorothy Jean. "The Leo Castelli Gallery in Metro magazine : American approaches to post-abstract figuration in an Italian context." 2012. http://hdl.handle.net/2152/18520.
Full textAbstract:
Between the years 1960 and 1970, New York gallerist Leo Castelli was closely involved with Milanese editor and publisher Bruno Alfieri's Metro magazine--an international review of contemporary art. By placing his artists in Metro, Castelli inserted them into the world of Italian art criticism and theory. This recontextualization familiarized the American artists of Castelli's gallery to a European audience and positioned them at the end of a succession of modern European styles. Specifically, Castelli's artists, each of whom engaged in a form of pictorial figuration, were seen as ending the dominance of the "pure" abstraction of the French informel style. This thesis uses the archive of correspondence between Bruno Alfieri and Leo Castelli to examine Castelli's contribution to Metro during the 1960s. Departing from this chronology, it also seeks to understand the unique brand of figuration that each of Castelli's artists brought to Metro, given cues from contemporary Italian theory and criticism--particularly that of Gillo Dorfles, who wrote on several of Castelli's artists.text
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Korábková, Kateřina. "Proměny Revolver Revue (1990-2000) a její kritická analýza." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-347954.
Full textAbstract:
The aim of this thesis named Transforming of the Revolver Revue (1990-2000) and its Critical Analysis is to describe the image and development of the cultural magazine Revolver Revue, including its supplement Kritická Příloha Revolver Revue during the first decade after the 1989 "Velvet revolution". Special attention is given to its literature reviews that largely determined the reception of of the magazine. Because the magazine was strongly influenced by its underground roots and the examined period of 1990s was full of remarkable socio- political changes the historical context, especially the developments of media and literature of that period, is discussed. To get an image of the magazine's role and its transformations as seen from the outside we describe how it was received by the contemporary press. The theoretical part focuses on issues of the conception of the literary criticism, which relates to the search for the role of criticism in the 1990s and it outlines the diversity of different perspectives, concepts and attitudes. The section dedicated to Kritická Příloha includes analysis of a few chosen reviews and aims to explore the form of criticism published in this magazine. The thesis also includes interviews with the chief editor of Revolver Revue Terezie Pokorná, and with Jáchym Topol,...
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Lefort-Favreau, Julien. "Pierre Guyotat devant l'histoire : politique du sujet autobiographique dans Coma, Formation et Arrière-fond." Thèse, 2013. http://www.archipel.uqam.ca/5881/1/D2589.pdf.
Full textAbstract:
Cette thèse de doctorat vise à identifier la politique de la littérature dans la trilogie autobiographique de Pierre Guyotat formée par Coma (2006), Formation (2007) et Arrière-fond (2010). L'œuvre de Pierre Guyotat s'articule autour d'une scène originaire d'affrontement entre exploiteurs et exploités qui se présente à la fois comme une poétique et une pensée politique. Selon les moments de l'œuvre, elle prend la forme d'une opposition entre putains et proxénètes, entre généraux et soldats, entre violeurs et violés, entre maîtres et esclaves. Les amis et les ennemis y sont toujours divisés et le vivre-ensemble n'y est pas fondé sur des rapports idylliques entre les sujets, mais plutôt sur un partage, entendu ici au sens de division. Cette inégalité fonde une communauté littéraire peuplée d'un ensemble hétérogène de figures à la fois héroïques et réversibles. À partir de ce noyau, Guyotat met en place un univers où s'expriment les injustices du monde et les rapports de domination qui le traversent. La première partie de la thèse propose une présentation de l'œuvre de Guyotat. Entre la fin des années soixante, où Éden, Éden, Éden est considéré « libre de tout sujet, de tout objet, de tout symbole » par Michel Foucault et comme un texte sans héros qui se résumerait à « l'aventure même du signifiant » par Roland Barthes, et la trilogie autobiographique, il y a un immense fossé. C'est cet écart qui justifie l'analyse de la trilogie selon une méthode à rebours : partir des textes récents pour mettre en place un cadre qui permet de repenser les œuvres anciennes et, inversement, considérer l'ensemble de l'œuvre pour mieux saisir la spécificité de ses manifestations contemporaines. La première partie expose également les fondements théoriques qui gouvernent notre réflexion sur les rapports entre littérature et politique. Notre travail s'appuie principalement sur les théories de Jacques Rancière qui envisagent l'art dans sa portée émancipatrice hors des paramètres de l'engagement littéraire ou d'une téléologie avant-gardiste. La deuxième partie expose d'abord la constitution du sujet en établissant une typologie des différentes modalités énonciatives et représentatives qui en balisent l'action. Nous observons la construction d'un sujet autobiographique, notamment par le dévoilement d'un intertexte critique avec certains textes canoniques, mais aussi en envisageant la trilogie comme une scène d'aveu. Coma et Arrière-fond sont orientés vers une utopie du Verbe et, pourtant, ils sont écrits dans une « langue normative ». La trilogie témoigne de l'échec du projet absolu du Verbe, avouant l'impuissance de la littérature. Ce clivage entre le contenu de la représentation et la forme de l'énonciation met en lumière les limites et la puissance du Verbe. Nous exposerons finalement la manière dont le sujet est captif de son propre corps, tout comme il est sous le joug des mots. Si les mots sont aussi des outils d'émancipation, il en est de même pour le corps, qui devient un lieu potentiel de résistance. Lorsque Guyotat représente un corps individuel assujetti à des dispositifs collectifs, il place en effet le sujet sur une scène historique. La biopolitique, terme issu de la théorie de Foucault, désigne bien le geste de Guyotat qui fait de la massification des corps à la fois une pratique disciplinaire et une découpe de l'histoire. Chacun des nouages exposés met en jeu des formes spécifiques de subjectivation, tendues entre identification et désidentification. Trois modes de subjectivation sont mis au jour : le retour réflexif du sujet à soi, l'assujettissement du sujet au langage et le rapport problématique du sujet à son corps et au monde. La troisième partie concerne d'abord la mise en œuvre d'une temporalité spécifique à la trilogie. L'énonciation au présent qui caractérise ces trois récits impose un regard singulier sur l'histoire. L'idée de messianisme du présent, que Walter Benjamin élabore dans ses ultimes fragments, nous aide à penser les réminiscences du passé dans le présent qui structurent la trilogie. L'interprétation figurative analysée par Erich Auerbach dans Figura nous éclaire quant à elle sur le temps déployé dans la trilogie. Comme les Pères de l'Église qui voient dans la figura une trace de l'événement historique dont l'énonciation dans la Bible a un caractère à la fois préfiguratif et commémoratif, liant le passé à l'avenir, Guyotat décrit des « figures » de l'histoire, dont l'énonciation au présent revêt un caractère à la fois prophétique et mémoriel. Nous analysons par la suite les figures de Jeanne d'Arc, de Charles de Gaulle ainsi que des membres de la famille qui incarnent un certain patriotisme, mais également une politique de la résistance qui complexifie souvent le sentiment d'appartenance à la France. Ces figures sont gouvernées par les lois d'alternance et de réversibilité qui infléchissent leur récupération mémorielle. La transmission de l'histoire par ses personnages révèle également son caractère sensible. Le « paysage » et la « géographie » manifestent une spatialisation de l'histoire, qui inscrit le passé dans différents lieux. Guyotat circonscrit les traces que l'histoire laisse dans le présent, déployant un rapport aux lieux de mémoire qui n'est pas strictement patrimonial. Il assimile l'histoire par les détails qui la composent et rend ses matériaux appropriables, perceptibles, disponibles. Le partage entre l'histoire légitime et l'histoire illégitime est sans cesse remis en question, l'écriture de Guyotat oscillant entre l'histoire et la mémoire, entre son expérience subjective et la présence fantomatique de la « masse historique des corps exploités ».
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MOTS-CLÉS DE L’AUTEUR : Pierre Guyotat, politique de la littérature, littérature française contemporaine, société, langage, corps, histoire, mémoire, sujet, subjectivation, Jacques Rancière, Tel Quel, textualisme.
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ŠVECOVÁ, Lenka. "Význam časopisu Vedem v terezínském ghettu." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-80728.
Full textAbstract:
Vedem is a name of a Czech magazine, which was secretely published in the Terezín Ghetto in 1942{--} 1944. It´s existence is connected with Valter Eisinger, a ghetto teacher, who looked after Jewish boys in so-called block L417 and who was always supporting their cultural development and their creativity. Boys at of fourteen to sixteen undertook the publishing and the magazine was coming out every Friday for almost two years. The main themes were different columns, poems and novels but also philosophical essays or critical articles. The most important persons, Petr Ginz, who was a magazines general editor, or poetist Hanuš Hachenburg, bouth died in 1944 in gas chambers. After the World War II the magazine was taken to Praque in May 1945 but the new government in Czechoslovakia rejected its publishing. The first shortend version came out in 80´s under the name ``We are children just the same: Vedem, the secret magazine of the boys of Terezín.``
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Keen, Rusti Leigh. ""Look West," Says the Post: The Promotion of the American Far West in the 1920s Saturday Evening Post." Thesis, 2012. http://hdl.handle.net/1805/3087.
Full textAbstract:
Indiana University-Purdue University Indianapolis (IUPUI)This thesis will look at the various images of the American Far West presented by the Saturday Evening Post during the 1920s under the editorship of George Horace Lorimer, and will examine his editorial strategy that promoted the Far West as a last land of opportunity while also recognizing and weighing in on the challenges of that region.