Books: '1950s magazines'

1

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

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

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

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4

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

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Betrock, Alan. Unseen America: The greatest cult exploitation magazines, 1950-1966. Brooklyn, N.Y: Shake Books, 1990.

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Favaro, Alice. Después de la caída del ‘ángel’. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-416-5.

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Ángel Bonomini was born in Buenos Aires in 1929 where he lived until his death at the age of sixty-four in 1994. He worked for various newspapers and magazines as an art critic and translator, but always maintaining his literary activity. He inherited the tradition of the Argentine fantastic and was a prolific writer: his production includes essays, poems and fantastic tales.Although he lived in a period of great cultural splendor and his literary talent was recognised by authors such as Borges and Bioy Casares, he fell into an unexplained oblivion, disappearing quite early from the contemporary intellectual environment. His first poems, which date back to the 1950s, were published in Sur magazine and some of his tales were included in well-known anthologies of fantastic literature.Among his collections of poems there are: Primera enunciación (1947), Argumento del enamorado. Baladas con Ángel (1952) written with María Elena Walsh, Torres para el silencio (1982) and Poética (1994). In 1972 he achieved great success with the publication of his first collection of fantastic tales, Los novicios de Lerna, followed by the publication of other books: Libro de los casos (1975), Los lentos elefantes de Milán (1978), Cuentos de amor (1982), Historias secretas (1985) and Más allá del puente (1996), posthumously published.A particular use of the fantastic characterises his work and distinguishes him from his contemporary authors. In his tales there is a continuous contrast between metaphysics and existentialism; in this way, he makes a deep investigation of the reality and, at the same time, he tries to go beyond it.This volume aims to analyse some emblematic tales by Bonomini in which it is possible to find the main topoi of Argentine fantastic and to understand why the author’s literary work is worth studying.

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

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8

Gracia, Ruiz Llamas Ma. Ilustración gráfica en periódicos y revistas de Murcia, 1920-1950. [Murcia: Universidad de Murcia, Secretariado de Publicaciones, 1992.

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9

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

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10

Steven, Heller. Cover story: The art of American magazine covers 1900-1950. San Francisco: Chronicle Books, 1996.

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11

Louise, Fili, ed. Cover story: The art of American magazine covers 1900-1950. San Francisco: Chronicle Books, 1996.

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12

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

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13

Pin-up mania!: The golden age of men's magazines, 1950-1967. Brooklyn, N.Y: Shake Books, 1993.

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14

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

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15

Clark, Charlotte B. A. Textiles from British magazines, 1950-1969: An index of articles. [Manchester]: Manchester Polytechnic Library, 1987.

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16

Clark, Charlotte. Textiles from British magazines,1950-1969: An index of articles. (Manchester): Manchester Polytechnic Library, 1987.

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17

Clark, Charlotte. Textiles from British magazines, 1950-69: An index of articles. Manchester: Manchester Polytechnic, Department of History of Art and Design, 1987.

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18

Hoedemaeker, Liesbeth. The Penguin music magazine, 1946-1949: Music, 1950-1952. Baltimore: NISC, 2005.

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19

Creating the modern man: American magazines and consumer culture, 1900-1950. Columbia, Mo: University of Missouri Press, 2000.

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20

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

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21

Ashley, Michael. Transformations: The story of the science-fiction magazines from 1950 to 1970. Liverpool, UK: Liverpool University Press, 2005.

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22

Constructing girlhood: Popular magazines for girls growing up in England, 1920-1950. London: Taylor & Francis, 1995.

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23

Mappin, John. The Goblin: A brief history of Canada's humour magazine of the 1920s. Montreal: Printed for John N. Mappin by the Porcupine's Quill, Erin, Ont., 1988.

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24

Greenfield, Jill. Women's magazines and the commercial orchestration of femininity in the 1930s: Evidence from'Women's own'. Portsmouth: University of Portsmouth, Dept. of Economics, 1996.

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25

The adman in the parlor: Magazines and the gendering of consumer culture, 1880s to 1910s. New York: Oxford University Press, 1996.

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26

Clear, Caitriona. Women's Voices in Ireland: Women's Magazines in the 1950s And 60s. Bloomsbury Publishing Plc, 2017.

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27

Oriard, Michael. Football Town under Friday Night Lights. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037610.003.0005.

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This chapter traces the history of two competing views about the role of high school football in American communities: the “Football Town” and the “Friday Night Lights syndrome.” “Friday Night Lights” was named after H. G. Bissinger's 1990 book Friday Night Lights, a journalistic account of football at Permian High School in Odessa, Texas. “Football Town” originated from a series of portraits in popular magazines in the 1940s and 1950s. The chapter first provides a background on interscholastic football before discussing how the high school football game's place in the local community began to take on larger meanings when the national media began paying attention to it in the late 1930s.

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28

Gautreau, Justin. The Last Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.001.0001.

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The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn’t already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry’s dynamic creation and re-creation of itself in the public imagination.

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29

Doyle, Wyatt, Robert Deis, Robert Deis, Robert Deis, and Robert Deis. Weasels Ripped My Flesh!: Two-Fisted Stories from Men's Adventure Magazines of 1950s, '60s And '70s. New Texture, 2012.

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30

Siff, Stephen. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039195.003.0001.

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This introductory chapter describes the media hype over LSD and related psychedelic drugs: a grand arrival to a 1950s cultural landscape that had been deliberately scrubbed of alluring descriptions of drug use; the the picturesque drug trips related in mainstream magazines and newspapers; sensational television specials and radio discussions; the contradictory reactions in mass media as the drugs accrued both casualties and countercultural cachet; and, finally, the loss of interest in psychedelic drugs by mainstream media outlets at the end of the 1960s. Ultimately, the book's goal is to not build a general theory but to shed light on a particular case through close examination of the media content and circumstances surrounding it.

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31

Marten, James, Nancy Walker, W. Fitzhugh Brundage, Vance Packard, Daniel Horowitz, and Booker T. Washington. Women's Magazines, 1940-1960 & Up from Slavery & American Social Classes in the 1950s & Childhood and Child Welfare in the Progressive Era. Bedford/St. Martin's, 2007.

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32

Chang, Jing Jing. Screening Communities. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455768.001.0001.

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Screening Communities uses multi-media archival sources, including government archives, memoirs, fan magazines, newspaper reports, and films to narrate the complexity of social change and political turmoil, both screened and lived, in postwar Hong Kong. In particular, Screening Communities explores the political, ideological, and cultural work of Hong Kong film culture and its role in the building of a postwar Hong Kong community during the 1950s and 1960s, which was as much defined by lived experiences as by a cinematic construction, forged through negotiations between narratives of empire, nation, and the Cold War in and beyond Hong Kong. As such, in order to appreciate the complex formation of colonial Hong Kong society, Screening Communities situates the analysis of the “poetics” of postwar Hong Kong film culture within the larger global processes of colonialism, nationalism, industrialization, and Cold War. It argues that postwar Hong Kong cinema is a three-pronged process of “screening community” that takes into account the factors of colonial governance, filmic expression of left-leaning Cantonese filmmakers, and the social makeup of audiences as discursive agents. Through a close study of genre conventions, characterization, and modes of filmic narration across select Cantonese films and government documentaries, I contend that 1950s and 1960s Hong Kong cinema, broadly construed, became a site par excellence for the construction and translation (on the ground and onscreen) of a postwar Hong Kong community, whose context was continually shifting—at once indigenous and hybrid, postcolonial and global.

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33

Cornell, Andrew. New Wind. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0007.

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Something of a revolution in anarchist thought occurred during the 1940s and early 1950s, much of it centered in New York City. World War II divided the small contingent of U.S. anarchists active during the Depression years, as many movement veterans reluctantly endorsed the Allies as the only viable means of defeating fascism. However, a new generation of activists -- many of them recent college graduates -- established journals and organizations that rejected participation in the war, often on pacifist grounds, and that began to reevaluate central tenets of anarchist theory. This chapter explores the milieu that developed in New York City, Woodstock, NY, and rural New Jersey at mid-century, focusing on three "little magazines" that supported and influenced one another: Politics, Why?, and Retort. Although anarchism was at a numerical nadir during these years, a tight-knit community of artists, theorists, and radical pacifists developed ideas, tactics, and aesthetics that reshaped anarchism so fundamentally that they remain prominent today in the Occupy Wall Street demonstrations.

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34

D'hoker, Elke, and Chris Mourant, eds. The Modern Short Story and Magazine Culture, 1880-1950. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474461085.001.0001.

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This collection of original essays highlights the intertwined fates of the modern short story and periodical culture in the period 1880–1950, the heyday of magazine short fiction in Britain. Through case studies that focus on particular magazines, short stories and authors, chapters investigate the presence, status and functioning of short stories within a variety of periodical publications – highbrow and popular, mainstream and specialised, middlebrow and avant-garde. Examining the impact of social and publishing networks on the production, dissemination and reception of short stories, this essay collection foregrounds the ways in which magazines and periodicals shaped conversations about the short story form and prompted or provoked writers into developing the genre.

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35

Howard-Pitney, David, Michael P. Johnson, Sarah Stage, James L. Roark, Alan Lawson, Patricia Cline Cohen, and Susan M. Hartmann. American Promise 3e V2 & Reading the American Past 3e V2 & Martin Luther King, Jr., Malcolm X, and the Civil Rights Struggle of the 1950s & Women's Magazines 1940-1960. Bedford/St. Martin's, 2006.

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Howard-Pitney, David, and Michael P. Johnson. Reading the American Past 3e V2 & American Cold War Strategy & Martin Luther King, Jr., Malcolm X, and the Civil Rights Struggle of the 1950s & Women's Magazines 1940-1960. Bedford/St. Martin's, 2006.

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37

Collares, Marco Antônio. Civilização Barbárie em Conan, de Robert Howard - Vol. II. Brazil Publising, 2021. http://dx.doi.org/10.31012/978-65-5861-563-7.

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The book discusses the representations of civilization and barbarism considering the narratives of Conan Cycles by Robert Ervin Howard. The adventures of the character Conan the Barbarian were produced between 1932 and 1936. There are twenty-one literary and fictional texts that are part of a specific genre called “Sword and Witchcraft”. Such literary genre approaches fabulous worlds cha racterized by the presence of the superna tural, where fantastic characters venture into action and fantasy plots. Conan’s adventures were published in the so-cal led pulp magazines (or pulp fictions), low-quality graphic magazines — usually processed from paper pulp — that were very popular in the US between the 1920s and 1950s. Despite Howard placed his great famous character in the “Sword and Witchcraft” genre, he drew philosophical aspects in his plots, insofar as the central theme of these narratives is linked to the opposition between civilization and barbarism. Conan usually represents a violent, bloodthirsty, and crude human conduct, but honest and honorable in the face of the corrupt and greedy actions of civilized men, so an expression of barbarism would be somewhat necessary in his creator eyes, especially in the face of a Civilizational crisis. In addition, Conan and other characters have traces of the so-called western frontier men: the men who would represent the Ame rican trailblazers, so much worshiped by the creator of the character, largely because their rusticities were considered to be the basis for the formation of the country. Howard, a Texan native, was very concerned about the historical context of the economic and social crisis of the twentieth century, and more specifically, the Great Depression of the 1930s. Conan, therefore, expresses some aspects of a more rustic and truthful conduct, closer to the idealized manners of the men who made the West and the US, meaning that the narratives of the Conan Cycles are part of so-called fron tier literature. This is not just a study of civilization and barbarism, but it is also about the conception of the US border in Robert Howard’s own historical context

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38

Greene, Dana. The Making of a Poet. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037108.003.0004.

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This chapter details events in the life of Denise Levertov from 1956 to 1961. This period was filled not only with cares of family life but the opportunity to acclimate herself in America and to hone her craft. After the publication of The Double Image, Levertov episodically wrote poems for a number of small magazines, but beginning in the mid-1950s a torrent of writing poured forth. Within six years she published Here and Now (1956), Overland to the Islands (1958), With Eyes at the Back of Our Heads (1960), and The Jacob's Ladder (1961). This productivity led to her being lauded as one of the “new American poets.” She had talent and tenacity, but she also had access to mentors and abundant good fortune.

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39

Bryant, Michele Wesen. Wwd Illustrated: 1960S-1990s. Fairchild Books & Visuals, 2003.

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40

Cullen, Niamh. Love, Honour, and Jealousy. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840374.001.0001.

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This book investigates how the intimate lives of Italians were transformed during the post-war ‘economic miracle’ of the 1950s and 1960s, during which millions of Italians migrated to the cities, leaving behind rural ways of life and transforming how people thought about love, marriage, gender, and family. At the core of this book lies the investigation of almost 150 unpublished diaries and memoirs written by ordinary men and women who were growing up and coming of age during these years. The book weaves these personal stories together with the Italian popular culture of the time, which was saturated with both new and old ideas of romance. Films and magazines encouraged young Italians to put romantic love and individual desire over family, contributing to changing expectations about marriage, and sometimes tensions within families. At the same time popular love stories were frequently laced with jealousy, hinting at the darker emotions that were linked, in many minds, to love. Through its exploration of courtship, marriage, honour crime, forced marriage, jealousy, and marriage breakdown, this book traces the ways in which the lives both of individuals and of the nation itself were shaped by changing understandings of romantic love and its darker companions, honour and jealousy.

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41

Clay, Catherine. Time and Tide. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418188.001.0001.

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This book reconstructs the first two decades of the feminist magazine Time and Tide, founded in 1920 by Lady Margaret Rhondda and other women who had been involved in the women’s suffrage movement. Unique in establishing itself as the only female-run general-audience intellectual weekly in what press historians describe as the ‘golden age’ of the weekly review, Time and Tide both challenged persistent prejudices against women’s participation in public life and played an instrumental role in redefining women’s gender roles and identities in the interwar period. Drawing on extensive new archival research the book recovers the contributions to this magazine of both well- and lesser-known British women writers, editors, critics and journalists and explores a cultural dialogue about literature, politics and the arts that took place beyond the parameters of modernist ‘little magazines’. Offering insights into the history and workings of this periodical that no one has dealt with to date, the book makes a major contribution to the history of women’s writing and feminism in Britain between the two world wars. The book is organised chronologically in three parts, tracing Time and Tide’s evolution from its ‘Early Years’ as an overtly feminist magazine (1920-28), to its ‘Expansion’ and rebranding in the late 1920s as a more general-audience weekly review (1928-35), and, finally, to its ‘Reorientation’ in the mid-1930s in response to a world in crisis (1935-39).

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42

Carter, Fan. Teen Magazines, Fashion, and Femininity: Honey Magazine and Consumer Culture in 1960s Britain. Taylor & Francis Group, 2019.

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43

Smith, Jad. Hiatus and Search for a New Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040634.003.0007.

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During the 1960s, Bester drifted away from SF for a second time and largely gave up fiction writing to work as an editor at Holiday magazine. When he returned to the field in the early 1970s, he found his reputation at an all-time high, in part because writers associated with the New Wave—Michael Moorcock, Samuel R. Delany, and Harlan Ellison, among them—had praised his work. This chapter looks at the ups and downs of Bester’s late career, giving particular attention to “The Four Hour Fugue,” Golem100, and the story collections The Light Fantastic and Star Light, Star Bright. It also discusses renewed interest in Bester’s fiction during the 1980s and his influence on cyberpunk.

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44

Crowl, Linda, Susan Fisher, Elizabeth Webby, and Lydia Wevers. Newspapers and Journals. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0037.

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This chapter examines how novels in Australia, Canada, New Zealand, and the South Pacific were reviewed and publicized, and how readerships were informed and created. Literary journalism in Australia, Canada, New Zealand, and the South Pacific varies according to the populations, histories, and communications infrastructure of each location. In general, a common pattern has been initial evaluations of work against British and European, then latterly American, models, during which time commentators promoted local writing and sketched national ideals for an independent artistic expression. The chapter considers how book reviews were undertaken, as well as the role of reviewers, in newspapers, magazines, literary journals, academic periodicals, and on radio and television programmes. It shows that all the emergent national literatures in English functioned in an increasingly transnational space in the four nations from the 1950s, first under the rubric of Commonwealth literature and then as postcolonial literatures.

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45

Cohen, Ronald D., and Rachel Clare Donaldson, eds. Further Developments, 1957–1958. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038518.003.0006.

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This chapter describes the folk music scene from 1957 to 1958. It discusses the emergence of the Kingston Trio that energized the folk revival; folk festivals and recordings; the continued popularity of skiffle in Great Britain; magazines the covered the folk music scene, including Sing Out! and Caravan; and Alan Lomax's return to the United States after seven years of folk-song collecting across Europe. According to Greenwich Village musician Dave Van Ronk, “the last years of the 1950s were a great time to be in the Village.” “It was not too crazy yet, but there was an exhilarating sense of something big right around the corner. As for the folk scene, it was beginning to look as if it might have a future, and me with it.” What was happening in Greenwich Village was rapidly spreading around the country. Folk music, broadly defined, appeared to have a bright future, while spanning the Atlantic Ocean.

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46

Withers, Jeremy. Futuristic Cars and Space Bicycles. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621754.001.0001.

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Futuristic Cars and Space Bicycles is the first book to examine the history of representations of the automobile and of marginalized transportation technologies such as the bicycle throughout the history of American science fiction. With chapters ranging from ones on the early science fiction of the pulp magazine era of the 1920s and 1930s, on up to chapters on the postcyberpunk of the 1990s and more recent science fiction media of the 2000s such as web television, zines, and comics, this book argues that science fiction by and large perceives the car as anything but a marvelous invention of modernity. Rather, the genre often scorns and ridicules the automobile and instead frequently promotes more sustainable, more benign, more restrained technologies of movement such as the bicycle.

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47

Wald, Alan M. The Cul-de-Sac of Social Democracy. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469635941.003.0010.

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A history of Irving Howe and Dissent magazine is used to examine the strengths and weaknesses of the social democratic alternative that became the Left wing of the New York intellectuals during the 1950s. This is followed by an examination of the life and work of Harvey Swados, which also express the ambiguities that would render this tradition problematic during the era of new radicalization in the 1960s.

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48

Rod & Custom Magazine in the 1950s. Motorbooks, 2004.

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49

Jinarajadasa, C. Theosophist Magazine March 1950-November 1950. Kessinger Publishing, 2003.

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50

Newcomb, John Timberman. Young, Blithe, and Whimsical. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036798.003.0004.

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This chapter challenges the conceptual model dominating histories of modern American poetry from the 1940s, in which political and aesthetic radicalism are seen as mutually exclusive responses to twentieth-century modernity, by analyzing the avant-gardism of The Masses. It considers how The Masses, together with several other little magazines, enriched the New Verse movement by joining and competing with Poetry: A Magazine of Verse as vibrant venues of contemporary American poetry. It explains how The Masses, by putting ideology above artistry, placed itself beyond the pale of true modernism. It argues that the verse published in The Masses was more than just belated sentimentalizing or Marxist sermonizing with no significant role in the emergence of modern poetry. On the contrary, the magazine had a substantial institutional and aesthetic impact upon the New Poetry. The chapter also contends that The Masses's eclectic and iconoclastic poetics of modernity was strongly aligned with the experimental spirit later valorized by historians as modernist.

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Books on the topic '1950s magazines'

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