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Journal articles on the topic '1940s magazines'
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1
Baigell, Matthew. "Clement Greenberg, Harold Rosenberg, and Their Jewish Issues." Prospects 30 (October 2005): 651–64. http://dx.doi.org/10.1017/s0361233300002210.
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Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.
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Klinova, Marina A. "Soviet fashion of the first half of the 1950s: formation of a new model of consumption." Vestnik of North-Ossetian State University, no. 2(2020) (June 25, 2020): 17–26. http://dx.doi.org/10.29025/1994-7720-2020-2-17-26.
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the article analyses textual and visual stories, is dedicated to the presentation of fashion images published on the pages of fashion and women’s magazines of the first half of the 1950s, the Study aims to determine vector dynamics and transformations of the Soviet fashion discourse (visual images and texts “fashion advice”) that occurred in the first half of the 1950s, the identification of the causality of these changes and trends socio-economic and political development of the country. When writing the article, the author was guided by the principles of historicism and objectivity. Work with historical sources was carried out using General scientific methods (analysis, synthesis, induction, etc.), as well as historical methods (problem-chronological, retrospective, comparative-historical). The source basis of the study was: Soviet fashion magazines - “Models of the season”, “fashion Magazine”, magazine for women – “Worker”, published during the first half of the 1950s. it was revealed That in the first half of the 1950s. in the official Soviet fashion discourse reflect changes in the standards of “fashion” consumption: the democratization of the presented models (manifested in the reduction in the cost of fabrics and decoration of clothing, expanding the range of everyday practices of using models, etc.); strengthening of ethical and didactic component in the rhetoric of fashion magazines. These processes indicated the replacement of the elite fashion concept presented in fashion publications in the 1940s with a more democratic concept of “Soviet taste”. The final design of this model takes place in the mid-1950s, but the beginning of the processes of its formation can be determined already in the first years of the 1950s. The specifics of the conceptual consumption models declared in the USSR were determined by the dynamics of the country’s economic development and the vector of the social policy pursued. The weakening of the mobilization regime in the first half of the 1950s, as well as increased attention to the problems of living standards of citizens, contributed to the democratization of the standard of “fashionable consumption”, declared in the domestic information space.
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O'Malley, Andrew. "‘The Innocence Project’ – An Online Exhibition and Archive on Children and Comics in the 1940s and 1950s." International Research in Children's Literature 10, no. 1 (July 2017): 20–38. http://dx.doi.org/10.3366/ircl.2017.0216.
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The 1940s and 1950s saw a widespread outcry over children's reading of comic books, most pronouncedly the often violent, gory and erotic crime and horror genres. Concern and outrage over the assumed effects of the ubiquitous magazines on young minds was expressed in a deluge of newspaper editorials, magazine articles, professional and academic journals, and elsewhere. A grassroots movement to restrict children's access to comics led to a Senate Subcommittee hearing in the US investigating links to juvenile delinquency and to legislation in several countries prohibiting the sale of certain comics to minors. Using Omeka publishing and exhibition software, this digital humanities project takes the form of an online exhibition and digital archive and considers the ways in which the comics crisis was structured around the idea of childhood innocence
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Chaochuti, Thosaeng. "Rewriting Ibsen's Nora: Fiction and the New Woman in Thailand (1920s–1940s)." Journal of Southeast Asian Studies 51, no. 3 (September 2020): 397–413. http://dx.doi.org/10.1017/s0022463420000521.
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Previous research has shown that the New Woman was a global phenomenon and that fiction was crucial to the emergence of this New Woman. One work that was of particular importance was Henrik Ibsen's A doll's house. This article examines the rise of the New Woman in early twentieth century Thailand. It traces the campaigns for gender equality that Thai women waged in local newspapers and magazines. It also examines the reactions towards these campaigns by three major authors, all of whom turned to Ibsen's play in their engagement with the New Woman phenomenon.
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Yarrow, Andrew L. "Selling a New Vision of America to the World: Changing Messages in Early U.S. Cold War Print Propaganda." Journal of Cold War Studies 11, no. 4 (October 2009): 3–45. http://dx.doi.org/10.1162/jcws.2009.11.4.3.
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This article examines how U.S. Cold War print propaganda shifted from an emphasis in the late 1940s on America's liberal democratic idealism to an emphasis by the mid-1950s on the country's high and rising living standards and shiny new system of “people's capitalism.” The United States could claim to have beaten the Soviet Union at its own game, providing “classless abundance for all.” These messages echoed those disseminated domestically, in which political leaders, business executives, journalists, and educators increasingly defined America's greatest virtues and identity in economic terms, emphasizing growth and prosperity. This article assesses how the United States—via the U.S. Information Agency and its precursors from the late 1940s to 1960—presented itself to those in the Soviet bloc and globally. The article relies on content analysis of three magazines—Amerika, a Russian-language monthly published for Soviet audiences from 1945 to 1952; Free World, a magazine sent to East Asia that began publishing in English and various Asian languages in 1952; and America Illustrated, a Russian-language monthly published for three-and-a-half decades beginning in 1956—as well as of many pamphlets and other printed material intended for overseas audiences.
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Mendes, Karla Renata. "Diálogos luso-brasileiros: a presença de Cecília Meireles na revista Atlântico / Luso-Brazilian Dialogues: Cecília Meireles’ Presence in the Atlântico Magazine." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 3 (September 30, 2020): 138. http://dx.doi.org/10.17851/2358-9787.29.3.138-163.
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Resumo: Considerada como um dos principais nomes da poesia brasileira, Cecília Meireles também se manteve presente e atuante no meio literário português, encontrando, em solo lusitano, uma boa receptividade e meios favoráveis à difusão de sua obra. Veículos importantes na promoção de seus textos, foram justamente as revistas literárias – publicações variadas que deram visibilidade à autora entre 1930 e 1960. Um desses periódicos é justamente a Atlântico – Revista Luso-Brasileira, editada entre os anos 1940 e 1950. Surgida em meio ao Estado Novo e tendo como pano de fundo um discurso nacionalista e de estímulo à aproximação entre “nações irmãs”, a revista contou com a participação ativa de escritores dos dois países e instituiu-se como um relevante meio de intercâmbio cultural luso-brasileiro. Prova disso é a presença de Cecília Meireles ao longo de números da publicação que retratam sua obra ou a mencionam em recensões críticas e textos literários. Dessa forma, pode-se dizer que a relação estabelecida entre a autora e a revista Atlântico exemplifica aspectos dessa busca de diálogo entre Brasil e Portugal que, em seu caso, acabou sobrepujando fins ideológicos e políticos ganhando, em última instância, contornos subjetivos e pessoais.Palavras-chave: Cecília Meireles; revista Atlântico; poesia; Brasil; Portugal.Abstract: Regarded as one of the major names in Brazilian poetry, Cecília Meireles also kept herself present and active in the Portuguese literary environment, where she was well received and had propitious means of disseminating her work. The literary magazines, varied publications that helped her gain notoriety between 1930 and 1960, were important vehicles for the promotion of her texts. One of these magazines is precisely the Atlântico – Revista Luso-Brasileira (Atlantic – Luso-Brazilian Magazine), edited in the 1940s and the 1950s. The magazine, which was created during the Estado Novo (New State) period and had as background a nationalist discourse and an incentive for the approximation of the “sister nations”, received active participation of writers from both countries and came to be a relevant vehicle for Luso-Brazilian cultural exchange. One evidence of this is Meireles’ presence over editions of the magazine that depict her work or mention her in critical reviews or literary texts. Thus, one can say that the relationship established by the author and the Atlântico magazine exemplifies aspects of this pursuit for dialogue between Brazil and Portugal that, concerning her, overcame ideological and political purposes and reached, at last, subjective and personal traits.Keywords: Cecília Meireles; Atlântico magazine; poetry; Brazil; Portugal.
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Paksuniemi, Merja, and Lauri Keskinen. "The ‘Guardian Group’ of Finland: Socializing Measures in the Little Lotta Organization during the 1930s and 1940s." Cultural History 6, no. 2 (October 2017): 190–208. http://dx.doi.org/10.3366/cult.2017.0149.
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The purpose of this article is to explore the education that a Finnish voluntary organization, Pikkulotat, the Little Lottas, provided for girls aged 8–17 in Finland during the turbulent and highly political 1930s and 40s. Little Lottas, and their adult counterparts the Lotta Svärd, were nationalistic organizations designed to work on the home front in case of war. From an outside perspective, their activity resembled the scout movement. The aim of the organization was to teach girls skills and knowledge that were to be used in national defence work. The Little Lotta organization had approximately 13,000 members in 1935, 24,000 members in 1939 and 52,000 members in 1944 when its activities were shut down due to political reasons. The primary data of this article consists of magazines Pikkulotta [Little Lotta] (1938–1943), Lottatyttö [Lotta Girl] (1943–1944) and Lotta Svärd (1934–1943). The specific aim of this article is to answer, by using Critical Discourse Analysis as a theoretical tool, the following questions: What were the attributes of a stereotypical Little Lotta? What ideology, skills and guidelines were passed on to readers of previously mentioned magazines? What do texts reveal about the historical context and prevailing culture in which the Little Lotta organization functioned? Results show that members of Little Lotta were given instructions, advice and recommendations that covered all aspects of life: physical appearance, morals, ideology, religion and so on. These measures had three somewhat overlapping aims: 1) to incorporate women into service for the country, 2) to spread officially approved ideologies to homes and, finally, 3) to raise future mothers.
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Dainese, Elisa. "Histories of Exchange." Journal of the Society of Architectural Historians 74, no. 4 (December 1, 2015): 443–63. http://dx.doi.org/10.1525/jsah.2015.74.4.443.
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During World War II, interest in indigenous South African architecture deepened, leading to studies that challenged modernism and influenced architectural design. Histories of Exchange: Indigenous South Africa in the South African Architectural Record and the Architectural Review remaps the tension between modern and indigenous cultures during the 1940s and 1950s, examining the diaspora of ideas between South Africa and Britain and revealing a new genealogy of postwar architecture. Elisa Dainese addresses indigenous South African architecture as it was seen in the postwar years from the perspectives of two architectural magazines. In doing so, she provides a new theoretical framework that probes the role of architectural journals, considering them as alternative spaces where contact took place among European and African cultures.
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Law, Cheryl, and Magdala Peixoto Labre. "Cultural Standards of Attractiveness: A Thirty-Year Look at Changes in Male Images in Magazines." Journalism & Mass Communication Quarterly 79, no. 3 (September 2002): 697–711. http://dx.doi.org/10.1177/107769900207900310.
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This study examined images of male bodies in the popular magazines GQ, Rolling Stone, and Sports Illustrated, from 1967 to 1997. A sample of images was analyzed using an eight-point scale measuring levels of body fat and muscularity. Findings suggest that the male bodies featured in these magazines became more lean, muscular, and V-shaped (featuring a broad chest tapering to a narrow waist) over the years. Leanness and V-shape increased dramatically from the 1960s and 1970s to the 1980s, declining slightly in the 1990s. Muscularity increased progressively over the years, reaching its highest level in the 1990s.
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fakazis, elizabeth. "Esquire Mans the Kitchenette." Gastronomica 11, no. 3 (2011): 29–39. http://dx.doi.org/10.1525/gfc.2011.11.3.29.
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In this article, I examine representations of masculinity and domestic cooking in Esquire's “Man the Kitchenette,” a cooking column for men published in the 1940s. Using qualitative content analysis, I examine how these representations recoded an interest in food and domestic cooking (as well as other traditionally “feminine” interests) as appropriately masculine, nurturing the development of the positive image of the “male consumer” and paving the way for the emergence of future men's lifestyle and culinary magazines.
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Nestayko, Markiyan. "Photos of Levko Yanushevych on the pages of Ukrainian magazines." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 362–75. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-26.
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The article studies the activities of one of the famous Ukrainian photographers of the XX century — Levko Yanushevych in the field of photography. We have systematized and characterized the artist’s photographs on the pages of Ukrainian and foreign (for Ukrainian emigrants) periodicals of the XX century, specifically, «Dilo», «Nashi Dni», «Nova Khata» (all titles in Lviv), «Kholms’ka zemlya» (Krakow), «Ukrainskyi visnyk», «Holos» (both in Berlin), «Na slidi» (Augsburg). The process of shaping Yanushevych’s creative personality via a prism of public activity and cooperation with famous figures is analyzed. The significant contribution of the photographer to the preservation of important facts and information about the Ukrainian intelligentsia of that time is revealed. Levko Yanushevych appears in the general picture of the XX century not only as a photojournalist of the cultural life of Ukraine, but also as an active participant in the processes taking place at the background of art. This is evidenced by articles, interviews and memoirs left by Yanushevych in local magazines. His popularity at that time is confirmed by publications in foreign editions made by efforts of the Ukrainian émigrés. Levko Yanushevych’s photographs are stored in the archives of the V. Stefanyk Institute of Library Art Resources Research of the Vasyl Stefanyk National Scientific Library of Ukraine in Lviv. They are not accessible in some magazines. The personality of this photographer is quite interesting not only in terms of his professionalism and famous works, but also as a cultural and public figure. His photo portraits are still stored on the pages of the Ukrainian General Encyclopedia. His photographs of landscapes and architectural masterpieces of the Ukrainian cities of the late XIX and early XX centuries help to plunge into the past. However, information about the photographer is very scarce, and there is no study of his work. In the mentioned press archives in 1920s, 1930s and 1940s, as well as some authorial articles available on the Internet were found about 50 photographs of the artist. We analyzed and systematized images by genre groupings. The article also covers a range of issues related to the origin and existence of photography in the 19-20th century, the main figures of the time, photo studios and vocational schools of Ukrainian photography. The findings of our research show trends in photography relevant in a perspective of the 21st century were experienced by professionals and amateurs in the past. Capturing information, transmitting emotions and feelings, preserving architectural monuments, landscapes, recording important moments in the lives of relatives or prominent people, coding or symbolism were important stages in the evolution of photography. Keywords: Levko Yanushevych’s photos, Ukrainian photographer, Ukrainian magazines, photography.
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Shin, Myoung Hwan, and Hea Keng Choi. "The role and aspect of journalism in modern and contemporary Jeonbuk magazines : Focusing on school magazine, literary magazine published in the 1940s and 50s." Korean Publishing Science Society 101 (August 30, 2021): 5–26. http://dx.doi.org/10.21732/skps.2021.101.5.
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Saito, Hirofumi. "THE LYSENKO CONTROVERSY IN THE ARTICLES IN WESTERN JOURNALS AND MAGAZINES OF THE 1940s." Japanese Slavic and East European Studies 26 (2005): 1–22. http://dx.doi.org/10.5823/jsees.26.0_1.
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Pecina, Jozef. "The Shadow and the dual-identity avenger tradition in American popular fiction." Ars Aeterna 12, no. 1 (June 1, 2020): 63–71. http://dx.doi.org/10.2478/aa-2020-0005.
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AbstractA secret identity is one of the definitional characteristics of comic-book superheroes. However, American popular literature had been populated by characters with secret identities long before the first superhero comics appeared. The crime-fighting dual-identity vigilantes enjoyed their heyday in the 1930s and 1940s, during the golden era of pulps. Selling usually for 10 cents, pulp magazines were the best source of cheap thrills and heroics. In this era, dozens of costumed avengers appeared and the most popular was undoubtedly The Shadow. Between 1931 and 1949, Street and Smith published more than three hundred stories featuring The Shadow, most of them written by Walter B. Gibson. In the late 1930s, several of the pulp conventions, including costumed avengers, were adopted by the creators of the superhero comic books, and The Shadow served as a main inspiration for Bill Finger’s and Bob Kane’s Batman. The article discusses the evolution of crime-fighting pulp heroes with a particular emphasis on The Shadow as the most influential dual-identity avenger of the era.
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Kara-Murza, Alexei A. "Eastern theocracy in Northern Eurasia: “The Ways of Russia” in the historiosophy of I. I. Bunakov-Fondaminsky." Philosophy Journal 14, no. 2 (2021): 5–20. http://dx.doi.org/10.21146/2072-0726-2021-14-2-5-20.
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The article examines the question of the evolution of the philosophical and historical views of the Russian intellectual and politician Ilya Isidorovich Fondaminsky (1880–1942; literary and political pseudonym “Bunakov”). A native of a Jewish merchant family who studied philosophy in Berlin and Heidelberg and an active socialist-revolutionary, I.I. Bunakov-Fondaminsky became one of the key figures of the Russian emigration. During the German occupation of France, he received Orthodox baptism and ended his life in a Nazi concentration camp (in 2004, he was canonized by the Patriarchate of Constantinople). The author focuses on the historiosophical concept of “Ways of Russia”, set forth by I.I. Bunakov-Fondaminsky in the articles of the 1920s and 1940s in the Parisian emigrant magazines “Modern Notes” and “Novy Grad”. According to Bunakov-Fondaminsky, historical Russia is “The East in the North”, and its fate is the history of the “eastern theocracy in the north of Eurasia”, for several centuries “irradiated” by the western waves.
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Palmer McCulloch, Margery. "Continuing the Renaissance: Little Magazines and a Late Phase of Scottish Modernism in the 1940s." Études écossaises, no. 15 (April 15, 2012): 59–73. http://dx.doi.org/10.4000/etudesecossaises.585.
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Fleming, Tyler, and Toyin Falola. "Africa's Media Empire: Drum's Expansion to Nigeria." History in Africa 32 (2005): 133–64. http://dx.doi.org/10.1353/hia.2005.0008.
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Publishing in Africa remains so difficult an enterprise that many publishers have collapsed, their dreams disappearing with them. This is especially true of the print media, particularly newspapers and magazines. During the past century, many magazines and newspapers failed to establish a loyal readership, keep costs down, insure wide circulation, or turn a huge profit. Consequently, not many African magazines can be viewed as “successful.” Drum magazine, however, remains an exception.In 1951 Drum, a magazine written for and by Africans, was established in South Africa. Drum enjoyed a great deal of success and is now widely recognized as having been a driving force in black South African culture and life throughout the 1950s and 1960s. In the South African historiography Drum has been thoroughly researched. The magazine's impact on South African journalism, literature, gender configurations, African resistance, and urban South African culture has been documented and often lauded by various scholars. Many former members of the South African edition's payroll, both editors and staff alike, have gone on to become successes in literature, journalism, and photography. Often such staff members credit Drum for directly shaping their careers and directly state this in their writings. Consequently, Drum is often associated only with South Africa. While Drum greatly influenced South Africa, its satel¬lite projects throughout Africa were no less important. These satellite projects cemented Drum's reputation as the leading magazine newspaper in Africa and each edition became fixtures in west African and east African societies.
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Strange, Carolyn, and Tina Loo. "From Hewers of Wood to Producers of Pulp: True Crime in Canadian Pulp Magazines of the 1940s." Journal of Canadian Studies 37, no. 2 (May 2002): 11–32. http://dx.doi.org/10.3138/jcs.37.2.11.
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Busby, Linda J., and Greg Leichty. "Feminism and Advertising in Traditional and Nontraditional Women's Magazines 1950s-1980s." Journalism Quarterly 70, no. 2 (June 1993): 247–64. http://dx.doi.org/10.1177/107769909307000202.
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In this study researchers content coded advertising images in traditional and nontraditional women's magazines in 1959, 1969, 1979 and 1989 to determine the impact of the feminist movement on consumer imagery. This timeframe allowed analysis from several historical vantages: 1959 (pre-feminist movement), 1969 (developing feminist ideology), 1979 (social implementation of ideology), 1989 (post feminist movement). The data were analyzed from the perspective of three major variables, the first being time (a specific decade); the second being magazine type (traditional or nontraditional women's magazines); and the third being product category. The study answers a primary research question: To what extent do ads in women's magazines (traditional and nontraditional) reflect the goals of the second feminist movement? A secondary research question is explored: Are advertising and the feminist movement incompatable, thus dooming “feminist publications” depending on ad dollars to demise?
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Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.
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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.
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Hackett, Lisa J. "Diversity and democratization of Dior in Australia: Social factors in fashion modification in the 1940s‐50s." Journal of European Popular Culture 11, no. 1 (April 1, 2020): 21–35. http://dx.doi.org/10.1386/jepc_00010_1.
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Christian Dior’s 1947 ‘New Look’ collection has been widely examined for its influence on both haute couture and clothing styles in the 1950s. In the Australian context, Margaret Maynard examined how the New Look was marketed through the ideological positioning of women’s roles in the domestic sphere. This marketing campaign was spearheaded by two business syndicates who brought a series of French Fashion Parades to Australia in the late 1940s through the 1950s. Despite the hype around the parades, just how much the fashions were adopted by the wider public has not been measured. Australians did not adopt the New Look unchanged, instead local sensibilities, climate and culture meant modification was inevitable.Through examining home-sewing patterns, photographs of key cultural events and images from popular magazines from the period, this article establishes how the New Look was modified in the Australia. Results show that despite the many women who were eager to embrace the new fashion, many more were reticent, clinging in particular to the shorter hemlines they had adopted during the war years. This led to a hybrid style that both followed the French lead and suited Australian society. French designers, keen to expand their business empires through licensing, responded to these adaptions, incorporating elements into their later collections. This represented a step away from the trickle-down model. This changing dynamic gave Australian customers the confidence to demand more from the fashion designers and to adapt fashion to suit the Australian context. By examining the impact of Dior’s New Look through the lens of ordinary Australian women, the influences of both the designer and his customers on the evolution of post-Second War World are exposed.
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Woodall, G. Carole. "Listening for Jazz in Post-Armistice Istanbul." International Journal of Middle East Studies 48, no. 1 (January 14, 2016): 135–40. http://dx.doi.org/10.1017/s0020743815001543.
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On the evening of 14 July 2013, while living in Istanbul, I walked down Kumbaracı Yokuşu away from the sounds of protest to the city's contemporary art museum. As part of the Istanbul Jazz Festival lineup, the Istanbul Modern screened director Batu Akyol's documentary Türkiye'de Caz (Jazz in Turkey), which gathers interviews with Turkish jazz musicians intimate with the country's jazz scene from the 1940s onward. The emergence of a jazz ecology of musician-composers, entrepreneurs, jazz promoters, and collectors runs in tandem with the history of the Turkish Republic, beginning in the years leading up to and including World War I and gaining momentum in the 1930s and 1940s. The documentary does not present a hermetically sealed nationalist understanding of Turkish jazz, but rather affirms a vibrant celebration of the music. To date, Istanbul's arts organizations host international jazz summer festivals and yearlong jazz programs. There are jazz clubs, radio programs, and magazines that highlight international and local events. Turkish university music departments offer jazz studies and formal performance opportunities for musicians. But there are also informal venues, such as the streets, cafes, and bookstores. While out late in Istanbul when I lived there, I would frequently listen to a lone street musician stationed outside of Narmanlı Han playing “My Funny Valentine” on his trumpet. On more recent trips, I have come across a jazz band playing Dixieland tunes along İstiklal Avenue. This is all to say that Istanbul is a city where one can listen to jazz standards, Dixieland, bebop, cool, and fusion as well as take lindy hop dance lessons from a local group. Although Akyol's documentary uncovers a jazz soundtrack dating to the 1930s that is composed of personal stories of local musicians becoming jazzers, the post-Armistice period (1918–23) remains mute, mired in what I consider to be a standard version of the city's origin story of jazz. I want to consider the case of jazz in post-Armistice Istanbul to think about how master narratives erase some sounds and privilege others.
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Vollberg, Susanne. "“Because every recipient is also a potential patient” – TV Health Programmes in the FRG and the GDR, from the 1960s to the 1980s." Gesnerus 76, no. 2 (November 6, 2019): 172–91. http://dx.doi.org/10.24894/gesn-en.2019.76009.
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In the television programme of West Germany from the 1960s to the 1980s, health magazines like Gesundheitsmagazin Praxis [Practice Health Magazine] (produced by ZDF)1 or ARD-Ratgeber: Gesundheit [ARD Health Advisor] played an important role in addressing health and disease as topics of public awareness. With their health magazine Visite [Doctor’s rounds], East German television, too relied on continuous coverage and reporting in the field. On the example of above magazines, this paper will examine the history, design and function of health communication in magazine-type formats. Before the background of the changes in media policy experienced over three decades and the different media systems in the then two Germanys, it will discuss the question of whether television was able to move health relevant topics and issues into public consciousness.
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Barberena, Elsa. "Latinoarte: information on Latin American art." Art Libraries Journal 20, no. 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.
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Latin American culture is very rich, yet there is insufficient documentation on Latin American art, and much of the documentation which does exist is not adequately covered by the major art indexes. A number of magazines have set out, especially since the 1940s, to disseminate information about Latin American art, but most have been short-lived. The LATINOARTE project, based in the Facultad de Filosofía y Letras at the Universidad Nacional Autónoma de México (UNAM), aims to develop and to network a database including citations to documentation available in 62 libraries and information centres inside and outside Latin America. Already, some 1,500 records are available on contemporary Latin American art. (The edited text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994.)
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Plous, S., and Dominique Neptune. "Racial and Gender Biases in Magazine Advertising." Psychology of Women Quarterly 21, no. 4 (December 1997): 627–44. http://dx.doi.org/10.1111/j.1471-6402.1997.tb00135.x.
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Recent evidence suggests that racial and gender biases in magazine advertisements may be increasing. To explore this possibility, a content analysis was performed on 10 years of fashion advertisements drawn from magazines geared toward White women, Black women, or White men ( N = 1,800 advertisements from 1985–1994). The results indicated that (a) except for Black females in White women's magazines, African Americans were underrepresented in White magazines; (b) female body exposure was greater than male body exposure, and White female body exposure rose significantly during the 10 years; (c) White women were shown in low-status positions nearly twice as often as were other models; and (d) Black women wore the majority of animal prints, most of which were patterned after a predatory animal. These findings suggest that racial and gender biases in magazine advertising persisted, and in some cases increased, between the mid-1980s and mid-1990s.
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Gabrič, Aleš. "The younger generation's magazines in the eyes of the communist ideologues." Review of Croatian history 15, no. 1 (December 20, 2019): 35–61. http://dx.doi.org/10.22586/review.v15i1.9738.
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The contribution analyses the increasing criticism, voiced by the younger generation of Slovenian intellectuals from the first post-war years until the end of the 1950s. The critical attitude towards the pressing social issues started developing in the beginning of the 1950s, as Mladinska revija – the first post-war literary magazine, published between 1946 and 1951 – was still subject to thorough scrutiny by the authorities. In the period of its successor – the Beseda magazine between 1951 and 1957 – certain more radical debates or critiques of the existing situation were already published. This publication stopped coming out in 1957. However, contrary to what the authorities had expected, a similar circle of the associates of this magazine's successor, the Revija 57 magazine (published in 1957 and 1958), was even more critical of the situation in the state. This contribution thus follows two parallel processes: on the one hand the increasingly critical attitude of the younger-generation intellectuals towards the authorities; and on the other hand the mounting pressure that the authorities exerted against magazines that published critical texts. At first the publications were merely the focus of political disapproval, followed by the abolishment of subsidies and thus consequently the cancellation of the magazines; while towards the end of the 1950s we can already come across a judicial process against an author of socially-critical articles. The leading politicians at the end of the period under consideration already saw the younger generation of intellectuals as the (cultural) opposition.
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Morgan, Cecilia. "“A Sweet Canadian Girl”: English-Canadian Actresses’ Transatlantic and Transnational Careers through the Lenses of Canadian Magazines, 1890s–1940s." International Journal of Canadian Studies 48 (January 2014): 119–35. http://dx.doi.org/10.3138/ijcs.48.119.
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Castleberry, Stephen B., Kelley Bayuk, and A. Maureen O'Bryan. "We've Got A Cure For You! Disease Awareness Campaigns." Journal of Business Case Studies (JBCS) 4, no. 2 (February 1, 2008): 31–38. http://dx.doi.org/10.19030/jbcs.v4i2.4754.
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Over the last twenty years, the use of disease awareness campaigns has become predominant in our everyday lives. What started out as a technique to market lifestyle drugs for cosmetics and sexual enhancements in the 1980s and 1990s, has now increased in usage to include many other areas of medicine. Its not uncommon to see drug advertisements in consumer magazines and on television for everything from psychotropic drugs, to drugs that are intended to improve the quality of everyday life for more average Americans. Indeed, its hard to find a popular press magazine that doesnt have at least one such advertisement, while most magazine issues have many such advertisements.
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BOWLER, PETER J. "Meccano Magazine: boys’ toys and the popularization of science in early twentieth-century Britain." BJHS Themes 3 (2018): 129–46. http://dx.doi.org/10.1017/bjt.2018.5.
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AbstractMeccano Magazine began publishing in 1916 to advertise the popular children's construction set. By the 1920s it had expanded into a substantial, well-illustrated monthly that eventually achieved a circulation of seventy thousand. Under the editorship of the popular-science writer Ellison Hawks it now devoted approximately half of its pages to real-life technology and some natural science. In effect, it became a popular-science magazine aimed at teenage and pre-teen boys. This article explores Hawks's strategy of exploiting interest in model building to encourage interest in science and technology. It surveys the contents of the magazine and shows how it developed over time. It is argued that the material devoted to real-life science and technology was little different to that found in adult popular-science magazines of the period, raising the possibility that Meccano Magazine’s large circulation may explain the comparative lack of success of the adult publications.
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Abramova, Ksenia V. "Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 84–105. http://dx.doi.org/10.25205/2410-7883-2019-2-84-105.
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The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.
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Lawrence, Michael. "‘Bombed into Stardom!’ – Roddy McDowall, ‘British Evacuee Star’ in Hollywood." Journal of British Cinema and Television 12, no. 1 (January 2015): 45–62. http://dx.doi.org/10.3366/jbctv.2015.0242.
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This article considers the beginnings of the British actor Roddy McDowall's career as a child star in Hollywood. Following his relocation to the United States in October 1940 and signing a contract with Twentieth Century-Fox, McDowall quickly became one of Hollywood's most popular juvenile actors. For the duration of the Second World War, McDowall's star image was indissoluble from his status as a war guest: he was ‘a British evacuee star’. McDowall thus became an unofficial ambassador for the British nation, much like his fellow evacuees, who were widely recognised for their work improving Anglo-American relations. In the management of McDowall's image, and in his screen performances, there is a discernible effort to substantiate certain attitudes about the character and attributes of the British nation but also to challenge certain prejudices about English sissy boys. McDowall's star text was carefully managed so that the image of the actor presented by the media and the fictional characters he played on screen congealed in a productive way to inspire among American audiences specific sentiments about the British and America's relationship with the British nation during wartime. Analysing the representation of McDowall in American film magazines during the early 1940s, as well as his performances in three war-themed productions – Confirm or Deny (1941), On the Sunny Side (1942) and The White Cliffs of Dover (1944) – I explore the ways McDowall's star text functioned in its geopolitical and bio-political contexts.
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Field, Geoffrey. "Perspectives on the Working-Class Family in Wartime Britain, 1939–1945." International Labor and Working-Class History 38 (1990): 3–28. http://dx.doi.org/10.1017/s0147547900010176.
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In the late 1940s the British people seemed preoccupied with family and children to an unprecedented degree. A similar revival of family life occurred in other European countries, testimony to the common legacy of the war years, during which private life had been broken apart by death, forced separations, constant anxiety, and unaccustomed privation. But the specific form of postwar familial ideology in Britain reflects the complex circumstances, cultural traditions, and mood of the nation. Everywhere the faces of smiling, responsible parents and healthy, carefree children gazed out from advertising billboards and National Health posters, symbolic of the nation's “social capital” and a better future. Widespread concern about low birthrates helped to strengthen domestic and mothering images of women; magazines and radio espoused the ideas of a growing phalanx of child-care professionals; and government social policy redefined the reciprocal obligations of parents and the state, reflecting a new “social democratic” conception of family as the basic unit of society and the chief incubator of citizenship and community values.
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Boraman, Toby. "The Independent Left Press and the Rise and Fall of Mass Dissent in Aotearoa Since the 1970s." Counterfutures 1 (March 1, 2016): 31. http://dx.doi.org/10.26686/cf.v1i0.6441.
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Leftist publications are inextricably linked to the ebb and flow of struggle in society. During an era of relatively high dissidence—the 1970s and to a lesser extent the 1980s—a vibrant leftist press flourished in Aotearoa. While magazines often do not capture the complexity, energy and spirit of struggles, and are often distant from them, nonetheless they can reveal important trends within movements. By outlining the major independent socialist magazines in Aotearoa since the 1970s such as the New Zealand Monthly Review, The Republican, Race Gender Class, New Zealand Political Review, and a variety of other publications, this article aims to highlight some major debates and transformations within the left. It also functions as a very broad, sweeping overview of the rise and fall of the left, and protest generally, since the late 1960s.
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Lovegrove, Elizabeth. "Interactions in the Text." Logos 29, no. 2-3 (November 17, 2018): 37–45. http://dx.doi.org/10.1163/18784712-02902005.
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This paper uses a case study from 1970s girls’ magazine Honey to demonstrate how paying attention to reader contributions published in magazines can give a richer, more nuanced view of the relationship between magazine and reader. The case study, a debate on why women assume they will have children, offers a new understanding of the way that such interactions in the magazine contributed to the development of young women’s understanding of the increasing freedoms available to them in the 1970s.
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Sanaksenaho, Pirjo. "1950s and 1960s Modern Home." Architectural Research in Finland 4, no. 1 (August 11, 2021): 10–19. http://dx.doi.org/10.37457/arf.110605.
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This article is based on my keynote lecture at the architectural research symposium held at Aalto University on October 25, 2018. The lecture dealt with my doctoral dissertation: Modern Home. Single-family housing ideals as presented in Finnish architecture and interior design magazines in the 1950s and 1960s. (Sanaksenaho, 2017)
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Mazey-Richardson, Tessa. "From private to public? Changing perceptions of young women in Seventeen magazine, 1955–1965." Global Studies of Childhood 8, no. 3 (August 16, 2018): 292–303. http://dx.doi.org/10.1177/2043610618792335.
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As a form of popular culture, magazines provide a lens through which historians can examine the dominant attitudes and values of a society. This article examines the portrayal of young American women in the popular teen magazine, Seventeen magazine, during the period 1955–1965. The study documents and analyses the messages conveyed within the magazine regarding ideals concerning feminine behaviour and appearance. Seventeen provides an opportunity to investigate both the production and reception of the cultural ideals for young American women as the decade of the 1950s ends and that of the 1960s begins. I argue that the letters-to-the-editor represented a public platform in which readers could voice opinions, express identities, engage in debates and communicate with each other. In this way, it is possible to see a change in the framing of women’s roles over time; a change that occurred not via a purely ‘top-down’ processes, but via and exchange relationship between Editors, writers and readers, and indeed between the readers themselves.
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Babii, Nadiia. "Cultural and Art Magazines in Western Ukraine from the Underground to Alternative Press." Culturology Ideas, no. 18 (2'2020) (2020): 120–31. http://dx.doi.org/10.37627/2311-9489-18-2020-2.120-131.
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The article analyzes the phenomenon of alternative cultural and art magazines of Western Ukraine of the 80-90s of the XX century; based on the analysis of factual data, interviews with stakeholders, scientific discussions, it clarifies the role of the object in the interdisciplinary connections of the XXI-century cultural discourse. The research determined that western cultural and art magazines of the late twentieth century played an important role for countercultural communities that were formed outside the official creative unions and also became a part of the common cultural myth under the same name. The closeness of the Chest union’s community to the aesthetics of the avant-garde was seen as opposition to the political regime, although they deliberately distanced themselves from politicization in their work as well as literary associations of the 1980s. The Сhetver (Thursday) magazine marked a new era of domestic journalism at the beginning of the 1990s, identified aesthetic criteria for alternative youth literature for a long period. The magazine became a symbol not only of a narrow get-together circle but also of an important part of the Stanislavsky phenomenon myth, in which all visual and verbal arts were a unified whole, thus blurring internal boundaries.
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Blin-Rolland, Armelle. "A Breton Bande Dessinée? Graphic Mosaics of Brittany." Nottingham French Studies 60, no. 2 (July 2021): 254–71. http://dx.doi.org/10.3366/nfs.2021.0320.
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This article uses the figure of the mosaic to explore the multiple ways in which Breton creators of bande dessinée have engaged with cutural, social and political questions from the 1940s to the twenty-first century. Graphic works published in the 1940s magazine O Lo Lê, created by Herri and Ronan Caouissin and later revived in the early 1970s, offered nostalgic images of a fantasized past, a form of cultural propaganda based on myths of Celtic ancestors, literary forefathers such as Auguste Brizeux, and the politics of provincialism. In the second half of the 1970s and early 1980s, amid calls for internal decolonization, the Breton BD scene became more varied, depicting emigration, unemployment and social unrest while giving voice to political dissent and deconstructing the clichés of picturesque localism. Finally, a selection of contemporary texts offers a space for re-examining Frenchness through the interplay between different languages and cultures, new models of relationality informed by postcolonial and ecocritical frameworks. As a hybrid, dynamic art form, BD emerges as a key contributor to the construction and deconstruction of community and group identities.
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Sellar, Tom. "Discussion, Dream, Art, People." Theater 50, no. 1 (February 1, 2020): 1–11. http://dx.doi.org/10.1215/01610775-8123826.
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In this article, Tom Sellar, the editor of Theater for sixteen years, reflects on the five-decade legacy of the magazine. Sellar’s personal retrospective looks both backward and forward, from Theater’s polemical beginnings in the late 1960s and his own encounters with the magazine as a student in the 1980s to the political exigencies of the present day and the demands this moment makes on the future of theater and criticism. As Sellar writes, Theater’s early radical spirit has not left the magazine’s mission: “Part muse, part archive, part mirror, Theater has held tightly to … its permanent stance that the theater can provide a vessel for transformation, bringing altered consciousness and maybe a better society.” Tracing this history, Sellar illuminates how Theater, as a journal and a reflection of its object of inquiry, has responded to the evolving idea of a public — a sphere that has narrowed and expanded, fractured and recombined over the past half century.
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Davidenko, Maria. "Multiple femininities in two Russian women’s magazines, 1970s–1990s." Journal of Gender Studies 27, no. 4 (September 26, 2016): 445–63. http://dx.doi.org/10.1080/09589236.2016.1233864.
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Dajnowicz, Malgorzata. "Successful women in the Polish People’s Republic in the light of publications of the magazine «Zwierciadło: Pismo Ligi Kobiet Polskich»." Journal of the Belarusian State University. History, no. 4 (October 31, 2019): 64–71. http://dx.doi.org/10.33581/2520-6338-2019-4-64-71.
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The aim of the scientific research included in the paper was to show the issue of Polish women and the cultural changes in the Polish People’s Republic in the end of 1980s. These transformations were reflected in women’s magazines, including in «Zwierciadło», being also a platform for disseminating the activities of the only official women’s movement at that time – League of Polish Women among readers. The research studies are new; so far scientific research on the importance of the women’s press on the subject of «Zwierciadło» has been conducted only by the author of this study. The method of press analysis, analysing individual studies of the «Zwierciadło» magazine, and the historical method of analysing source documents and literature on the subject were used in the study. As a result of the study, an image of women achieving professional, social and, thus, personal success, disseminated in «Zwierciadło», was shown. The image also demonstrated some role models for women – what the women’s success which Polish women should strive for can and should look like. «Zwierciadło: Pismo Ligi Kobiet Polskich», a magazine addressed to women, was published in 1982–1990 and promoted the organization and its achievements. The magazine sought to present issues concerning the life of Polish women, their everyday problems, but also successes to be enjoyed by Polish women and women from abroad. The magazine provided examples of women’s careers. Professional work was to be a way to personal success and social advancement. The image of successful women presented in the magazine differed from the possibility to achieve the success by typical magazine’s readers, including League of Polish Women members.
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Poutanen, Hilkka, and Vesa Puhakka. "The Many Sides of Human Resource Information Systems." International Journal of Technology and Human Interaction 6, no. 4 (October 2010): 1–13. http://dx.doi.org/10.4018/jthi.2010100101.
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The history of human resource information systems stretches to the 1960s, when human resource data were separated from payroll systems. In the 1980s, researchers and practitioners became more interested in human resource information systems, and in the 1990s several studies, articles, user experiences, opinions and descriptions were published in journals, magazines and on the internet. Still, despite the number of literature, no survey or framework exists that constructs a synthesis of the fragmented issues of human resource information systems from both of these viewpoints, that is, information systems and human resource management. In this paper, an initial framework for human resource information systems is introduced to underline the importance and the need for consolidating the knowledge on the phenomenon.
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Schirato, Tony, and Susan Yell. "The ‘New’ Men's Magazines and the Performance of Masculinity." Media International Australia 92, no. 1 (August 1999): 81–90. http://dx.doi.org/10.1177/1329878x9909200110.
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In Australia in the 1990s, following on from the phenomenon of the ‘new woman's magazine', a new market in lifestyle magazines for men has emerged, distinct from magazines such as Penthouse, Playboy and Picture. This paper examines the phenomenon of the ‘new’ men's magazines, and argues that these magazines are a site in which contemporary performances of masculinities can be analysed, just as feminist and other analyses have examined and critiqued the production of feminine subjectivities through women's magazines. We introduce the market positioning and profile of these magazines, then analyse shifts in the available discourses for constructing masculine subjectivities as they are exemplified in one of the most successful of these magazines, Ralph. Making use of Judith Butler's concept of performance and her critique of Pierre Bourdieu's notion of the habitus, toe analyse a story in Ralph, concluding that Ralph's performances of ‘stereotypical’ masculinity are self-conscious ‘over-performances’ of a set of discourses and subjectivities which it recognises are already in a sense obsolete.
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Phillpot, Clive. "Twentysix gasoline stations that shook the world: the rise and fall of cheap booklets as art." Art Libraries Journal 18, no. 1 (1993): 4–13. http://dx.doi.org/10.1017/s0307472200008178.
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The term ‘artists’ books’ has been used since about 1970 to denote inexpensive booklets produced by artists in ‘unlimited’ editions, but can legitimately embrace a variety of artefacts; the word ‘bookwork’, coined in 1975, carries the more specific meaning of a work of art in book form. Ed Ruscha’s Twentysix Gasoline Stations, published in 1963, was a pioneering bookwork; it was followed by more bookworks from the same artist through the next ten years; however, Ruscha’s innovatory productions had been preceded by a number of experiments with the book format, by Bruno Munari, Åke Hodell, and others, during the 1950s and early 1960s. Bookworks flourished in the 1970s as a means of making actual works of art available to a wide audience, but in the 1980s this ideal was gradually overtaken by a growing tendency towards making bookworks as precious, costly collectables, in limited editions, while some of the earlier, once cheap bookworks began to sell for inflated prices on the secondhand market. Nonetheless, many artists are continuing to produce relatively inexpensive bookworks, sometimes using photocopiers, or to publish artists’ magazines. The work of Telfer Stokes demonstrates that the multiple book format remains an exciting and accessible medium in the hands of a committed artist.
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Hoogeveen, Teresa. "FRACTURING THE PRIVATE-PUBLIC DIVIDE THROUGH ACTION." Ethics, Politics & Society 4 (August 6, 2021): 153–74. http://dx.doi.org/10.21814/eps.4.1.194.
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Feminism in the 1960s and 1970s was innovative and productive, despite its tendency—similar to that of previous emancipatory movements—to forget its past. This paper proposes Françoise Collin’s notion of transmission as a fruitful relationship with which to palliate this tendency and to propel women as innovative participants in the symbolic. In order to do this, I analyze Les Cahiers du Grif, the first francophone magazine of “second-wave” feminism, as an example of how women’s actions in their plurality fractured the division between private and public as presented by Arendt and thus produced a fertile corpus for disciplines in the humanities. To close, I argue that the difficulties presented by this corpus are a positive consequence of the magazine’s plurality, as well as a worthy legacy that transmission challenges us to focus on.
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Maryina, Olga V., and Tatyana P. Sukhoterina. "Genre forms in the children’s humoristic magazine “Veselye kartinki”: 1990s." International Journal “Speech Genres” 31, no. 3 (August 25, 2021): 207–15. http://dx.doi.org/10.18500/2311-0740-2021-3-31-207-215.
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The article is included in the circle of studies related to the study of genre characteristics of texts. The relevance of the study is determined by the changeable nature of speech genres, each of which contains traditional (archaic) genre-forming features, as well as new, changing ones. The aim of the undertaken research was to consider genre forms and features in the children’s comic magazine “Veselye Kartinki”. Issues of the period from 1985 to 1999 were selected as the research material. From the point of view of genre forms, the analyzed issues of the magazines are divided into two groups. The first group includes issues of the magazine with traditional genre forms (for example, the club of funny people, true stories in pictures, riddles, fairy tales, etc.); the second group includes issues of the magazine with “new” genre forms that appeared in the magazine during the 1990s (for example, biblical legends, a short horoscope, children’s jokes, instructive stories, advertising texts, etc.). The article notes that the so-called “new” genre forms could exist as independent genre forms outside the issues of the magazine “Veselye Kartinki”: in “adult” literature and in literature created for children. During the analysis of the material, essential genre characteristics of the magazine “Veselye Kartinki” were discovered, which include creolization, visualization and polycode.
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Anstee, Cameron. "An Index of Nelson Ball’s Little Magazines: Volume 63 (1963–1967), Weed (1966–1967), and Hyphid (1968)." Papers of The Bibliographical Society of Canada 56, no. 1/2 (February 26, 2019): 75–117. http://dx.doi.org/10.33137/pbsc.v56i1/2.29566.
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Nelson Ball (1942– ), in addition to being an important Canadian poet, small press publisher, and bookseller, was an editor of little magazines in the 1960s. He co-founded and edited Volume 63 (1963–1967) and individually founded and edited Weed (1966–1967) and Hyphid (1968). This index provides full bibliographic data for each magazine (including dates, locations, and editors) and full listings of contributors and works (including information original to the magazines that identified from where a given contributor was writing). It also indexes advertisements for books, presses, magazines, and bookstores that appeared in the magazines to make possible the mapping of international small press distribution networks as theyhave been constructed through little magazines. This index includes an introduction that provides historical context for Ball’s small press practice and is intended to supplement existing bibliographies of Ball’s activities to continue building a literary, book-historical, and bibliographic record of his works.
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Raimondo, Sergio, Valentina De Fortuna, and Giulia Ceccarelli. "Bushido as allied: The Japanese warrior in the cultural production of Fascist Italy (1940-1943)." Revista de Artes Marciales Asiáticas 12, no. 2 (December 27, 2017): 82. http://dx.doi.org/10.18002/rama.v12i2.5157.
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<em>Introduction: </em>After the signing of the alliance among Japan, Germany and Italy’s governments in September 1940, several journals arose in order to spread the Japanese culture among people who knew very little about Italy’s new allied. Some documentaries also had the same function. <em>Methods: </em>The numerous textual and iconographical references concerning the Japanese warriors’ anthropology published in some Italian magazines during the 1940s have been compared, as well as to the few Italian monographs on the same theme and to some documentaries by Istituto Nazionale Luce, government propaganda organ. This subject has also been compared to the first Italian cultural production, concerning Japan, which dated back to the first decades of the 20<sup>th</sup> century. Moreover different intellectuals’ biographies of those times have been deeply analyzed. <em>Results: </em>Comparing to each other the anthropological references about Japan in the Italian cultural production during the Second World War, we can notice a significant ideological homogeneity. This can be explained through their writers’ common sharing of the militaristic, hierarchical and totalitarian doctrine of the Fascist Regime. The Fascist ideology can be summarized in the <em>Bushido</em> concept, as Inazo Nitobe defined it in 1916. This concept was already known in Italy on the early 20<sup>th</sup> century, far before Fascism. <em>Discussions and conclusions: </em>We can see how Italian perception of the Japanese anthropology on the early 20<sup>th</sup> century didn’t change over time and how its features will re-appear in the 40s under the influence of the Italian-Japanese coalition. So, Bushido became the essence of the Japanese military and national identity that Fascist Italy took as example for mass education. Some of these stereotypes will re-appear after the war and until recent times in popular culture and in mass perception of Japanese martial arts.
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Rydsjö, Celia Aijmer, and AnnKatrin Jonsson. "Making It News: Money and Marketing in the Expatriate Modernist Little Magazine in Europe." Journal of European Periodical Studies 1, no. 1 (July 5, 2016): 71. http://dx.doi.org/10.21825/jeps.v1i1.2578.
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This article deals with practical and economic aspects of expatriate little magazine production and should be seen as furthering the understanding of the economic and promotional underpinnings of modernist cultural expression in the 1920s and 30s. In particular, the article indicates to what extent literary ambitions and idealistic actions associated with the editing of a little magazine on the European continent intermingled with material and promotional concerns. Moreover, by focusing on expatriate little magazines, the article emphasizes the significance of geographical location for both practical and marketing purposes. Marketing ambitions blended with tactics for gaining legitimacy, and promotional language provided a valuable tool for advancing sales as well as cultural credibility. One important way of catering to economic interests while upholding literary ambitions was to incorporate the magazines into the flow of news, suggesting an affinity with publication types dedicated to hot topics, large readerships, and the journalistic virtue of presence on the scene. Designating the little magazine and its literary content as news therefore complicates and troubles the boundary between elitist and popular culture.
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Hackett, Lisa J. "The neo-pin ups: Reimagining mid-twentieth-century style and sensibilities." Australasian Journal of Popular Culture 9, no. 1 (March 1, 2020): 7–23. http://dx.doi.org/10.1386/ajpc_00012_1.
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Pin Up style has made a comeback with dozens of pin up competitions featuring at retro car festivals and events across Australia. A sub-culture has grown up around this phenomenon, with boutiques, celebrities and online influencers celebrating its aesthetic. I refer to this group as ‘neo-pin ups’ to differentiate them from the pin ups of the mid-twentieth century. Despite heralding the style and beauty of 1940s and 1950s pin ups, these neo-pin ups bear little resemblance to their mid-century counterparts. Researchers such as Madeleine Hamilton have investigated the era of the original Australian 1940s and 1950s pin up, finding an image deemed to be both ‘wholesome’ and ‘patriotic’ and suitable for the troops on the front lines. Ironically, this social approval resulted in pin up evolving in a more explicit direction throughout the 1960s as epitomized by Playboy magazine and the Miss World competitions. During this time, the increasingly influential feminist movement challenged the way women were viewed in society, particularly in regard to objectification and the male gaze. This critique continues today with the #metoo and gender equality movements. This article investigates how and why Australian women are transforming the image of the 1940s and 1950s pin up. Drawing upon interviews and observations conducted within the Australian neo-pin up culture, this article demonstrates how neo-pin ups draw on contemporary mores, rejecting the social values of their mid-century counterparts and reclaiming women’s place in society and history, from a female point of view. Neo-pin ups are not looking to return to the past, instead they are rewriting what pin ups represent to the present and future.