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Irving, Claire. "Printing the West Indies : literary magazines and the Anglophone Caribbean, 1920s-1950s." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3406.
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This thesis uncovers a body of literary magazines previously seen as peripheral to Caribbean literature. Drawing on extensive archival research, it argues for the need to open up the critical consensus around a small selection of magazines (Trinidad, The Beacon, Bim and Kyk-over-al), to consider a much broader and more varied landscape of periodicals. Covering twenty-eight magazines, the thesis is the first sustained account of a periodical culture published between the 1920s and 1950s. The project identifies a broad-based movement towards magazines by West Indians, informed and shaped by a shared aspiration for a West Indian literary tradition. It identifies the magazines as a key forum through which the West Indian middle classes contributed to and negotiated the process of cultural decolonisation which paralleled the political movement to independence in the 1960s. Chapter One explores the broad ways in which the magazines envisioned a West Indian literary tradition, before focusing on the tensions between the oral folk tradition and emerging print culture. Chapter Two moves to a closer focus on the middle-class West Indians publishing the magazines and the Literary and Debating Society movement. It argues that through their magazines these clubs sought to intervene in the public sphere. Chapter Three considers the marginalised publications of three key women editors, Esther Chapman, Una Marson and Aimee Webster and identifies how the magazine form enabled these editors to pursue wider political agendas linked to their cultural aims. Chapter Four returns to a broader focus on the magazines’ paratextual elements including advertisements and commercial competitions, to explore the business of magazine publication and the ways in which this shaped their contents and compilation. Overall, the cultural and material history of the magazines mapped by this thesis sheds new light on what remains an under-explored but critical period of Caribbean literary history, on the cusp of cultural decolonisation and formal independence.
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Bryant, Malika S. "Johnson Publishing Company’s Tan Confessions and Ebony: Reader Response through the Lens of Social Comparison Theory." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1618997653408659.
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Young, Hilary. "Representation and reception : an oral history of gender in British children's story papers, comics and magazines in the 1940s and 1950s." Thesis, University of Strathclyde, 2006. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21645.
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This thesis explores the representation and reception of gender in British children's reading material during the 1940s and 1950s. Chapter One traces the methods and concepts I have used to investigate an audience history of reading. The relationship between gender and memory in oral history and the uses of audience reception theory are considered. Chapter Two considers schoolboy story papers and comics and the tension between middle-class and working-class masculinities presented in the material. Chapter Three focuses on the changing representations of femininity in three groups of material for girls: the schoolgirl story paper and comic; 'erotic bloods'; and women's service magazines. Chapters Four and Five reposition the actual readers at the centre of the text using oral testimony gathered in Glasgow and Mass-Observation replies to a directive on childhood reading. Chapter Four focuses on the memories of male narrators' reading experiences as young boys. The chapter considers the relationship between class and masculinity as experienced and identified by the readers in response to characters from the story papers and comics. Chapter Five is divided into two sections. The first considers women's memories of reading story papers and comics intended for both schoolgirls and schoolboys. The second section considers women's memories of reading older women's magazines at a young age to negotiate the transition from girlhood to womanhood. In addition Chapters Four and Five reflect upon wider activities associated with reading such as the acquisition of papers, the place of reading and the games and roles developed from the material. The gendered myth systems surrounding the activity of reading and how female and male readers negotiated, accepted and rejected these myths are also considered. In conclusion this thesis addresses the relative 'absence' of children's reading culture from earlier work in cultural historical studies, a cross-gendered consideration of popular childhood reading material and the wider relationship between gender and memory in oral history.
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Ritchie, Rachel Clare. "The housewife and the modern : the home and appearance in women's magazines, 1954-1969." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/the-housewife-and-the-modern-the-home-and-appearance-in-womens-magazines-1954--1969(f46704f8-d0e7-4f78-a963-b93e15583c55).html.
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In 1957 a number of women's organizations were involved in planning a government-sponsored Festival of Women - an event that indicates contemporary awareness of and interest in the changing position of women. This study is similarly concerned with the position of women in the 1950s and 60s, relating constructions of the 'modern' woman in women's magazines to post-war developments, such as increasing levels of consumption and changing leisure patterns. There are two major themes in the thesis: the housewife and the modern. The study illustrates the centrality of 'the housewife' while accentuating the breadth and complexity of post-1945 women's roles and identities, with a focus on two sites pivotal to constructions of femininity in women's magazines: the home and appearance. The study also explores how women's magazines shaped the modern, emphasizing the range of ways in which this notion was constructed and understood. The concept of social capital is used to examine the significance of the modern, looking at why it was so important and its connection with ideas of exclusion and belonging.The study looks at two magazines. Home and Country was the magazine of the National Federation of Women's Institutes, and hence it targeted rural women. Woman's Outlook, on the other hand, was the Women's Co-operative Guild magazine, aimed at working-class Guild members. Through comparisons between the two and with Woman, a mass-circulation weekly magazine, the thesis demonstrates that their respective rural and Co-operative identities were distinctive features that contrast with the urban and mass consumption viewpoints evident in other titles. These rural and Co-operative identities heavily influenced the perspectives of the organizational magazines and created alternative visions of the modern. The relationship of these features to post-war British modernity has received little attention, with historians' focus on the urban and the individual consumer positioning the countryside and the Co-operative movement as antithetical to the modern. However, this study reveals that rural and Co-operative interpretations of the modern enhance and develop understandings of key themes in 1950s and 60s British history such as national identity, consumer culture, generation and age. The thesis situates Home and Country and Woman's Outlook within broader social and cultural networks and shows the extent to which women's magazines operated as cultural intermediaries. The study also engages with a number of intersecting bodies of literature, such as revisionist accounts of domesticity and recent work on women's organizations, and contributes to various discussions including housing in post-war Britain and feminist analyses of fashion and beauty. This multifaceted investigation generates new insights into both the housewife and the modern, insights which offer a more complex and nuanced account of 1950s and 60s Britain and the position of women.
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Bae, Catherine Yoonah. "All the girl's a stage : representations of femininity and adolescence in Japanese girls' magazines, 1930s-1960s /." May be available electronically:, 2008. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.
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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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Yu, Ying. "The Fantastic in the 1960s and 1970s: the Idea of Subversion and an Exploration of Style." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281620327.
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Tinkler, Penny. "Constructing girlhood : messages and meanings in girls' magazines 1920 - 1950." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279594.
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Morin, Alice. "Au cœur des magazines ˸ de collaborations en négociations, le système des images de mode américaines (années 1960-années 1980)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA109.
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Cette thèse examine l’image de mode éditoriale en contexte(s), au sein de la presse magazine américaine entre les années 1960 et les années 1980, à travers une étude de cas sur les publications mainstream Vogue, Harper’s Bazaar et un nouveau magazine, Interview. On postule que la production photographique de ces trois titres représente à la fois le cœur de leur activité et de ces objets matériels, en raison de leur positionnement, de leurs codes et de leurs objectifs. On étudiera comment, dans ce cœur et à travers ses « grandes » séries éditoriales, se dégage un certain rapport à l’image comme plateforme entre une production collaborative et des réceptions, ainsi qu’une fonction de négociation par rapport au contexte historique. A travers l’étude des conditions de production des images, puis à travers leur analyse, et enfin par l’examen de leurs circulations, on démontrera l’existence d’une norme mainstream manifestant un certain conservatisme. Puis nous nous interrogerons sur les négociations éventuelles avec cette norme, sans cesse contestée, changeante en surface mais tenace.Un examen attentif de l’ensemble des tensions et des compromis au fil des moments de flottement que sont les décennies 1960 à 1980 nous permettra d’aboutir, sur la période étudiée, au constat qu’il existe bien un système articulé autour d’un discours hégémonique très difficile à questionner tant il est puissant et, en fin de compte, fermé. Ainsi, de manière transversale à tout notre travail, il émergera que l’ensemble des images de mode éditoriales est varié, mais lissé par un discours des magazines construit sur le long terme. Pourtant, il offre aussi bien des modèles que des contre-modèles, des contre-discours et des contre-points qui tous se déploient dans un cadre strict et souple, fermement orienté et adaptable, même s’il comporte quelques possibilités de subversion, toujours exercées à la marge. On conclura, en définitive, à la puissance de ce système, normé quoique toujours à l’équilibre entre des tensions contradictoires, structuré autour d’un format très fort, se nourrissant et s’exprimant par l’image de mode qui reste son fleuronThis doctoral thesis examines fashion editorials through a case study of three American magazines in context, from the 1960s to the 1980s: Vogue and Harper’s Bazaar, two mainstream publications, and a new magazine then, Interview. It is postulated that the photographic editorial production of those magazines is central to them – as material objects, and as the core of their activity as well, both aspects enabling and unfolding their positions, their codes and their purposes. By looking at major editorial series, I explore how these images stand out as "contact zones" between a highly collaborative production process and their receptions, and how their function is also one of negotiation with regards to its context.A close analysis of the conditions of production, the content and the circulations of these images demonstrates that magazines express undeniable conservatism through the perpetuation of a mainstream norm. However, as this norm constantly changes on the surface, I argue that conditions regularly emerge for it to be negotiated. An attentive study of the tensions and compromises unfolding in the « uncertain moments » that characterize the period running from the 1960s through the 1980s demonstrates the existence of a powerful system. Structured around a coherent and hermetic narrative, it proves indeed hard to challenge. Yet, as this thesis argues, the ensemble of editorial fashion images homogenized by these long-term processes is in fact varied and diverse. If these images construct models, they also offer counter-models, counter-narratives and counter-points. All these possibilities converge into a strict but agile framework, firmly oriented by its producers but adaptable, even though its subversive potential is only realized at the margins.This system—structured around a powerful format—is highly restrictive yet it still performs a constant balancing act between conflicting tensions and goals, fueled by and unfolded in the fashion images at its core
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Zur, Dafna. "The construction of the child in Korean children's magazines, 1908-1950." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33563.
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“The Construction of the Child in Korean Children’s Magazines, 1908-1950” examines the child as a site of ideological inscription through the texts and illustrations of children’s magazines from 1908-1950. The analysis, which spans Korea’s colonial and immediate post-liberation/pre-war period, opens with the publication of the first magazine for young readers in 1908, Sonyŏn (1908-1911), continues with an analysis of the colonial period magazines Ŏrini (1923-1934), Pyŏllara (1930-34), Sinsonyŏn (1929-34), and Sonyŏn (1937-40), and closes with the interruption of the publication of Ŏrininara (1949-50) and Sohaksaeng (1945-50) in 1950 upon the outbreak of the Korean War. This study focuses on magazines, and more specifically children’s magazines, because this medium was a major purveyor of Korea’s burgeoning consumer culture and well reflects the growth in literacy and the development of print and visual culture in modern Korea. Magazines also reflect colonial Korea’s changing engagement with social discourses such as Social Darwinism, colonialism, modernity and nationalism. The turn of the twentieth century brought with it an intense intellectual drive towards enlightenment in Korea, and the most significant target of enlightenment was the Korean child. It was the momentum toward reform and the gaze toward the future that brought the child so acutely to the forefront of social discourse and made the Korean child into a pliable image both textually and visually. By examining a representative range of magazines along the political spectrum, I demonstrate how the child—as a crucial site of ideological inscription—was constructed and manipulated in children’s magazines through negotiations with the discourses of colonial Korea. At the same time, I point to the existence of voices that wove a more complex tapestry and which, by problematizing the more prevalent constructions of the (enlightened/pure and innocent/rebel, politically conscious/wild, natural) child, challenged the hegemonic discourses and provided their young readers with images that reflected, in part, the experience of being a young person during the tumultuous period of colonial and postcolonial Korea.
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Korinek, Valerie Joyce. "Roughing it in suburbia, reading Chatelaine magazine, 1950-1969." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ27792.pdf.
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Clarke, Meaghan Emily. "(Re)constructing the feminine in art writing, the Canadian magazine Mayfair in the 1950s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26895.pdf.
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Clarke, Meaghan Emily Carleton University Dissertation Art History. "(Re)constructing the feminine in art writing; the Canadian magazine Mayfair in the 1950s." Ottawa, 1996.
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Oostdijk, Diederik Michiel. "Karl Shapiro and "Poetry : a magazine of verse" (1950-1955) /." [Pays-Bas] : [s.n.], 2000. http://catalogue.bnf.fr/ark:/12148/cb399692918.
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Moreau, Louise. "Making art modern, the first decade of Vie des arts magazine and its contribution to the discourse on the visual arts in Quebec during the 1950s and 1960s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26024.pdf.
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Louw, Nicolette. "Grace and The townships h Housewife : excavating South African Black women's magazines from the 1960s." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/4064.
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Thesis (MA (English))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: Grace and The Townships Housewife, two black women’s magazines published in South Africa between 1964 and 1969, have slipped into obscurity. This thesis aims to write them back into the history of the black press, black journalism and literature in South Africa. The study is significant in that no research has as yet been conducted on these two magazines. The first chapter excavates Grace and The Townships Housewife from obscurity by providing information on the magazines’ publication, staff, editors, content, target audience and writers. A salient characteristic of both magazines’ content that the study discusses is the ambiguous attitude of readers and writers towards modernity and tradition (and the negotiation of new identities) as they move from the country to the city. Some readers’ embrace and others’ rejection of early signs of feminism and womanism in the magazines also display this ambiguous attitude. The chapter foregrounds the various ambiguities and often colliding voices that infuse much of the magazines’ content. The absence of explicit reference to apartheid in Grace’s and The Townships Housewife’s content provides another focal point of this chapter and is discussed in relation to the concepts of ‘minstrelsy’ and ‘mimicry’. Considering specifically the position of the black woman in apartheid South Africa, the second chapter compares the representation of white women in South African white women’s magazines Die Huisgenoot, Sarie Marais and Fair Lady to the way in which black women are represented in Grace and The Townships Housewife in the 1960s. The role of the latter two magazines in positively representing black women during apartheid South Africa, and thus standing in direct opposition to the identities ascribed to black people in colonial and apartheid ideology, is a primary focus of this chapter. The representation of black women in the 1960s is elaborated on in the next chapter which explores the shift in the representation of black women from Drum magazine (during its heyday in the 1950s), with its predominantly male staff, to the representation of black women in Grace and The Townships Housewife (in the 1960s), with their predominantly female staff. I hypothesise on the possible agencies at work within this shift in women’s representation. Despite the magazines’ adherence at times to white standards of beauty (an aspect which the thesis engages with throughout), the ‘creation’ of black women within the pages of Grace and The Townships Housewife (as the previous two chapters articulate), often resonates with Black Consciousness’s philosophy of black pride. This last chapter explores the possible connection between Grace and The Townships Housewife, on the one hand, and the early beginnings of an emergent black consciousness in South Africa in the late 1960s, on the other hand. It also discusses the sexism associated with black consciousness philosophy in relation to these two magazines, but the focus falls on how black female readers of Grace and The Townships Housewife negotiate imposed ‘female identities’ (for example, mother, housewife and supporter) towards greater agency.
AFRIKAANSE OPSOMMING: Grace en The Townships Housewife, twee tydskrifte gemik op swart vroue en wat in Suid-Afrika gepubliseer is tussen 1964 en 1969, is vandag onbekend. Die doel van dié tesis is om hierdie twee tydskrifte terug te skryf in die geskiedenis van swart joernalistiek en literatuur in Suid-Afrika. Dit is ’n waardevolle studie aangesien geen navorsing oor hierdie twee tydskrifte nog gedoen is nie. Dit is ook ’n ingewikkelde proses wat gepaard gaan met baie spekulasie, aangesien dit alreeds te lank gevat het vir hierdie tydskrifte om ontdek te word – dit is nie meer moontlik om die meeste van die bydraers tot hierdie twee tydskrifte op te spoor nie. Die eerste hoofstuk ‘grawe’ Grace en The Townships Housewife as t’ ware weer ‘op’ deur inligting te voorsien oor hierdie tydskrifte se uitgewers, personeel, redaktrises, inhoud, teikengroepe en skrywers. Die dubbelsinnige houdings wat lesers in die tydskrifte toon teenoor tradisie en moderniteit soos wat hulle beweeg van plattelandse gebiede na stedelike gebiede, is kenmerkend van hierdie tydskrifte en word in hierdie hoofstuk bespreek. Hierdie dubbelsinnigheid word ook weerspieël in lesers en skrywers se ambivalente houdinge teenoor die bemagtiging van vroue. Die verskeie dubbelsinnighede en dikwels botsende stemme in meeste van die twee tydskrifte se inhoud is ’n belangrike punt wat hierdie tesis uitlig. Die afwesigheid van direkte verwysings na apartheid in beide tydskrifte is nog ’n kenmerkende eienskap van die tydskrifte wat in hierdie hoofstuk ondersoek word. Met die fokus op die posisie van die swart vrou in apartheid Suid-Afrika, vergelyk die tweede hoofstuk die voorstelling van wit vroue in Suid-Afrikaanse wit vrouetydskrifte (Die Huisgenoot, Sarie Marais en Fair Lady) met dié van swart vroue in Grace en The Townships Housewife in die 1960s. ’n Primêre fokus van hierdie hoofstuk is die rol wat Grace en The Townships Housewife speel in die positiewe voorstelling van swart vroue tydens apartheid, in direkte kontras tot die voorstellinge van swart vroue in apartheid ideologie. Die volgende hoofstuk brei verder uit op die voorstelling van die swart vrou in die 1960s: hier word gekyk na die skuif wat plaasvind in die voorstelling van swart vroue van die Drum-tydskrif in die 1950s met sy hoofsaaklik manlike personeel, na die voorstelling van swart vroue in 1960s Grace en The Townships Housewife, met hoofsaaklik vroulike personeel. Die moontlike faktore verantwoordelik vir so ’n verandering in voorstelling word oorweeg. Alhoewel die inhoud van Grace en The Townships Housewife gereeld ‘wit’ standaarde van skoonheid ondersteun, toon die voorstelling van swart vroue in hierdie twee tydskrifte ook dikwels ooreenkomste met swart bewustheid filosofie se fokus op swart trots. Hierdie laaste hoofstuk ondersoek die moontlike verbintenis tussen Grace en The Townships Housewife, aan die een kant, en die vroeë begin van swart bewustheid in Suid-Afrika in die laat sestigerjare. Die dikwels seksistiese houdinge wat met swart bewustheid filosofie geassosieer word, word in hierdie hoofstuk bespreek aan die hand van voorbeelde uit Grace en The Townships Housewife. Dit is egter nie die fokus van hierdie studie nie: die fokus val op hoe swart vroue lesers van Grace en The Townships Housewife opgelegde rolle van moederskap, huisvrou en ondersteuners stuur tot posisies van groter mag.
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Kim, Sun-A. "Life and war in Korea photographic portrayals of the Korean War in Life magazine, July 1950 - August 1953 /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5548.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on July 27, 2009) Includes bibliographical references.
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Scanlan, Patricia Hope. "English surrealism in the 1930s, with special reference to the little magazines and small presses of the period." Thesis, Royal Holloway, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368111.
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Pagano, Jennifer Hoolhorst. "The evolution of Sunset Magazine's cooking department: The accommodation of men's and women's cooking in the 1930s." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3575.
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The Western regional magazine Sunset has been published under a series of owners and publishers since 1898. In 1928, Sunset was purchased by Lawrence Lane, a Midwestern magazine executive who transformed it from a failing turn-of-the-century, general interest publication about the West, into a successful magazine about living in the West for the Western middle-class. Sunset had always been a magazine for men and women, and one that appealed to both male and female intellectuals at the time Lane purchased it. Lane and his editors attempted to interject more rigid middle-class ideals into a magazine that had espoused ideas that were progressive and less structured. Lane's new strategy to compartmentalize Sunset's content into its four categories—gardening, the home, cooking, and travel—resulted in a magazine that was conventionally gendered. Tension due to this shift played out in the publication's new cooking department. This thesis traces the development of Sunset's cooking department between 1928 and 1938 under the direction of its creator and founding editor Genevieve Callahan through the examination and analysis of Sunset cooking features and oral histories. The original department, structured to model a middle-class domestic ideology, did not accommodate all of Sunset's readers. The Western intellectualism of pre-Lane readers and their tendency to be less bound by conventional gender roles in the kitchen carried over into Sunset's cooking department via reader recipe contributions. These Western cooks included men and women whose foodways deviated from that of the typical middle-class housewife. Callahan experimented throughout the cooking department's first decade by shifting its editorial framework and softening her home economics rigidity to create a department that was inclusive of women and men who cooked both inside and outside the kitchen. The changes made to the department over that decade illustrate how editorial experimentation reconciled a new middle-class-oriented cooking department to accommodate Western cooks less apt to model traditional gender roles.
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Martins, Lamb Vanessa. "De la "femme au foyer" à la "féministe" : une étude comparative de l'évolution des femmes britanniques et américaines des années 1950 aux années 1970 à travers les magazines féminins." Electronic Thesis or Diss., Toulon, 2019. http://www.theses.fr/2019TOUL3003.
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L’analyse des magazines féminins américains et britanniques des années 1950, 1960 et 1970, les représentations de la femme et de leur rôle dans la société, ainsi que l’interprétation des messages qui ressortaient de ces publications sont les objectifs fondamentaux de la thèse ici présentée. Ces magazines seront décortiqués dans le but d’analyser les représentations des femmes et de l’image mythifiée de la « femme parfaite » et leur impact sur les lectrices, ainsi que questionner cette vision idéaliste des femmes, comprendre la transformation de ces ménagères en féministes engagées à la fin des années 1950 et, finalement, établir une comparaison entre les mouvements féministes américains et britanniques des années 1950 aux années 1970. Cette étude examinera les magazines en tant que participants à l'évolution des valeurs culturelles qui redéfinissaient la vie domestique américaine et britannique après la Seconde Guerre Mondiale. L’analyse ira enquêter sur le multiple rôle des magazines – entreprise, conseillère pour des questions sociales et familiales, diffuseur d’idéologies ou, tout simplement, source de divertissement et information. L’interaction de ces publications avec d’autres éléments culturels de deux pays, dont la politique, l’économie, les nouvelles technologies et les études psychologiques et sociales feront également partie de la recherche. Le corpus d’analyse se constitue des magazines mensuels qui avaient une part importante dans la construction de l’idéalisation de la femme : Ladies’ Home Journal, Good Housekeeping et McCall’s aux Etats-Unis et Housewife, Women’s Day et My Home au Royaume-Uni, ainsi que les magazines féministes créés au début des années 1970, Ms aux Etats-Unis, et Spare Rib au Royaume-UniThe analysis of American and British women's magazines during the 1950’s, 1960’s and 1970’s, the representation of women and of their roles in society, as well as the interpretation of these magazine’s subliminal messages are the main goals of the research. These magazines have been analyzed for the study of the mythical image of the “perfect housewife” and its impact on the readers, as well as the transformation of these women from housewives to « De la « femme au foyer » à la « féministe » : une étude comparative de l'évolution des femmes britanniques et américaines dans les années 1950 et 1960 à travers les magazines féminins » feminists during the 1950’s and 1960’s. Finally, a comparison between American and British feminist movements during this time will be established. The study will approach the magazines as participants in the evolution of the cultural revolution that redefined the American and the British domestic life after WWII. The analysis will focus on the magazine’s multiple roles - business, advice for social and family questions, diffusion of ideas or, simply, source of entertainment and information. The interaction of these publications with the cultured elements of the two countries as their politics, their economy, the new technologies and the social and psychological elements of the new “American Way of Life” will also be examined. The analysis corpus is constituted by the main women’s magazines in both countries, which have an important participation in the construction of the female idealized image: Ladies’ Home Journal, Good Housekeeping and McCall’s in the United States and Housewife, Women’s Day and My Home in the United Kingdom. The main feminists magazines, created in the 1970’s, are also a part of the research : Ms in America and Spare Rib in the UK
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Guldimann, Colette. ""A symbol of the New African" : Drum magazine, popular culture and the formation of black urban subjectivity in 1950s South Africa." Thesis, Queen Mary, University of London, 2003. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1814.
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This thesis examines the emergence of black urban subjectivity in South Africa during the 1950s, focussing on the ways in which popular American genres were utilised in the construction of black urban identities that served as a means of resistance to apartheid. At the centre of this process was Drum magazine: founded in South Africa in 1951 , it became the largest selling magazine on the African continent in 1956. Drum's success was due to the way in which it enabled the relocation of black identity from the "traditional" towards the "modern'. The 1940s gave rise to widespread migration of black South Africans from rural to urban areas and this newly urbanised community was seeking models of black urban identity. Yet the Nationalist government was attempting to curtail the emergence of a black urban proletariat, which posed a threat to white political supremacy. Through apartheid legislation black identity was constructed as essentially tribal and rural. As a means of resisting this, urbanised black South Africans turned to, and appropriated, readily available forms of American culture. Drum published Americanised images and stories: gangsters, black detectives, black comic heroes, and pulp romances. This popular material appeared alongside some of the finest investigative journalism ever published. While Drum magazine is widely acknowledged as having provided a platform for the emergence of black South African writing in English, its popular content has been dismissed by critics as apolitical escapism, imitation and capitulation to American culture. This thesis challenges the dismissal of the popular that has dominated analyses of Drum since the 1960s, arguing that such a position denies the agency of local writers and audiences. My analysis reveals that American forms were adopted in critically discerning ways and chosen for their ability to convey local meaning and create positions from which to resist apartheid
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Roberts, Chadwick Lee. "Consuming Liberation: Playgirl and the Strategic Rhetoric of Sex Magazines for Women 1972-1985." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1302714550.
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Taylor, J. "From sound to print in pre-war Britain : the cultural and commercial interdependence between broadcasters and broadcasting magazines in the 1930s." Thesis, Bournemouth University, 2013. http://eprints.bournemouth.ac.uk/21079/.
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This thesis is a study of key broadcasting magazines published in the United Kingdom prior to the Second World War. At its centre is the premise that the relationship between broadcasting and the magazine industry evolving around it was symbiotic in nature. The relationship was complex because the broadcasters provided much of the material for the magazines to publish and therefore could potentially use this as a tool for influence and publicity, as they sought to stimulate the demand for their output in the British public. However, the magazines were the mediators of the flow of communication. Their editorial content not only provided a critical commentary on material broadcast but also represented a direct conduit between the readers/audience and the broadcasters by providing a forum for the readers/audience to publish their views. Exploring the history of early broadcasting from the perspective of this material reveals the interdependency between the radio stations/broadcasters, the magazines and ultimately, how they connected to the readers/audience. While there have been other partial studies of broadcasting magazines, particularly the Radio Times, these have not assessed the magazine against other contemporary magazines, nor have they placed the magazine within a broadcasting history context. This study not only considers the magazines against the background of the growing broadcasting industry, it also explores what wireless meant to its first audience. This was a crucial element for understanding how the public responded to the developments which were taking place in the 1930s, when commercial enterprises encroached on the BBC’s monopoly and attempted to poach its listeners.
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Stead, Lisa Rose. "Women's writing and British female film culture in the silent era." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3138.
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This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.
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Silva, Naiane Marcon da. "As revistas Acrópole e Habitat e a consolidação da Arquitetura Moderna Brasileira (1950-1956)." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-04092017-122658/.
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Este trabalho analisa as revistas Acrópole e Habitat, publicadas na cidade de São Paulo, entre 1950 e 1956, buscando compreender sua relação com a difusão e construção do ideário e prática modernos ao longo destes anos. A pesquisa parte da compreensão da década de 1950 em sua dimensão de momento de disputa pela hegemonia do campo arquitetônico moderno em expansão, ainda em aberto, antes da consolidação que a arquitetura nascida com Lúcio Costa e desenvolvida por Oscar Niemeyer encontrou em Brasília; e antes da constituição de um grupo coeso em torno da arquitetura pautada na preocupação social e na técnica construtiva referenciado em São Paulo. Para tanto, busca identificar e compreender, no conteúdo das revistas, os posicionamentos que se destacavam e as narrativas sendo costuradas diante dos debates em pauta, bem como as características da produção arquitetônica documentada e divulgada; tudo isso a partir das particularidades e transformações pelas quais Acrópole e Habitat passaram neste períodoThis dissertation analyzes Acrópole and Habitat magazines, published in São Paulo city, between 1950 and 1956, in order to understand their relationship with the progress of Modern Architecture principles and practices through those years. The research is based on the understand of 1950s decade as a moment of discussions about the expanding modern architecture field, before the consolidation of Lúcio Costa and Oscar Niemeyer\'s architecture in Brasilia, and before there was a cohesive group in São Paulo based on social ideals and technical building elements. Therefore, the research investigates the magazines standpoints and opinions within the current debates, as well as the published architecture characteristics, based on Acrópole and Habitat magazines aspects and transformations through that time
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Rodgers, Ronald R. "An untamed force : magazine and trade journal criticism of the new journalism and the rise of professional standards, 1890s to 1920s /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3191716.
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Champomier, Emmanuelle. "Contribution à l’histoire de la presse cinématographique française. Étude comparée de la genèse et de l’évolution de douze revues de cinéma entre 1908 et 1940." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA029.
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Source majeure de l’histoire du cinéma, la presse cinématographique française des premiers temps reste pourtant encore un vaste continent à explorer. À partir d’un corpus composé de douze revues couvrant la période de 1908 à 1940, cette recherche entreprend d’étudier les facteurs à la fois techniques, économiques et sociaux de la naissance et de l’évolution de la presse cinématographique française sur trois décennies. Envisagée en tant qu’entreprise de presse, dans sa dimension collective, chaque revue fait l’objet d’une étude méthodique de son identité, de ses spécificités, ainsi que des différentes mutations, administratives, techniques, économiques, formelles et éditoriales, subies. L’ambition première de cette thèse est de proposer une histoire autant de la presse que des journalistes. Elle aspire ainsi à définir la profession de journaliste et de critique de cinéma, telle qu’elle est perçue à l’époque par la corporation du cinéma ainsi que les journalistes et critiques eux-mêmes. La définition de cette fonction se fait également à travers la création de groupements professionnels, dont cette recherche espère avoir éclairé l’histoire et les péripéties qui la jalonnent. Le dessein poursuivi par ailleurs est de contribuer à une meilleure connaissance des hommes, journalistes et critiques, encore méconnus pour la plupart mais qui ont pourtant été des figures marquantes de leur époque, qui ont participé à la création de la presse spécialisée et à l’élaboration d’une pensée et d’une critique cinématographiques dans les années 1900-1930A major source for history of cinema, the early French film press however still remains a vast, unexplored continent. With a body of research composed of twelve film magazines spanning over the 1908-1940 period, this thesis aims to study the technical, economical and social factors involved in the birth and evolution of the French film press over three decades. Contemplated as a press organization, in its collective dimension, each film magazine is subject to a methodical study of its identity, specifications and various mutations – administrative, technical, economical, formal and editorial – incurred. The main ambition of this thesis is to propose a history of press as well as of journalists. The study thus aims to define the profession of journalist and film critic, as it is perceived in this period by the film corporation and the journalists and critics themselves. This fonction also defines itself through the creation of professional associations, the history and adventures of which this research hopes it has illuminated. The pursued purpose is also to contribute in a better knowledge of the men, journalists and critics, remaining mainly unrecognized to this day despite being major figures of their time, who participated in the creation of the specialized press and the formulation of a critical thought about cinema, in the 1900s-1930s
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Joly, Noémi. "ZERO et le devenir immatériel de l’art à l’épreuve de la technique, 1958-1964." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040048.
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ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensibleZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience
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Arseniou, Elizabeth. "Between modernism and the avant-garde : literary experimentation in the early 1960s in Greece (the case of the literary magazine Pali [1964-1967])." Thesis, University of Birmingham, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322999.
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This study is an investigation of the role of the "little magazine" flriAZ, published in the early 1960s in Greece, as well as the work of its contributors. By experimenting with the use or abuse, expansion or minimisation of literary language, the group of flriAZ contributed to the constitution of the Greek 1960s and offered an alternative paradigm of a peripheral Western neo-avant-garde. The first chapter offers a brief account of the political and cultural background to the magazine's publication. The second chapter explores the tradition of the avant-garde "little magazines", the developments of Greek and international alternative press in the 1960s and the features of flaAz as a "little magazine". The third chapter reviews the developments of international and Greek I modernism and the avant-garde and examines the debates on literary modernity in the Greek criticism of the 1960s. The fourth chapter considers the work of Manto Aravantinou, Nikos Stangos and Kostas Tachtsis, three contributors of IlaAz whose literature introduced innovative oral and textual strategies. Chapter five explores the ways Alexandros Schinas views language and literature in his meta- fictional literary work. It examines his experimental techniques. analyses his "hyperlexist" contribution to IlaAz and his views on the language question. Finally, the sixth chapter explores the background of the magazine's "anti-realist generation". It examines their work within the context of international avantgarde and analyses their contributions to the reformation of the literary and cultural attitude during the 1960s.
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Seago, Alex. "'Burning the box of beautiful things' : Ark magazine & the development of a 'postmodern sensibility' at the Royal College of Art: 1950-1962." Thesis, Royal College of Art, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600826.
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Moreau, Florence. "Pour une histoire culturelle du magazine "LIFE" dans les années 1950 : mythe, photojournalisme et rhétorique de l'image au service d'une culture visuelle américaine." Paris 7, 2012. http://www.theses.fr/2012PA070056.
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Fleuron du photojournalisme américain du XXe siècle qui connaît son apogée pendant les années 1950, le magazine Life jouit d'une aura prestigieuse qui en fait une entité iconique de la presse périodique illustrée et de la culture américaine du XXe siècle. Classiquement convoqué dans la littérature en sa qualité de parangon d'un genre de presse modélisant des pratiques éditoriales, Life endosse également jouer un rôle de « mémoire visuelle » de la société américaine du XXe siècle. La présente thèse intègre ce statut emblématique de Life, à la croisée de deux champs d'investigations distincts que sont les études américaines et l'histoire de la presse, autour de trois grands axes : historiographie, pratiques éditoriales et iconographie du magazine. Ceci, afin d'identifier et d'analyser les principaux enjeux impliqués dans le projet « d'histoire culturelle » que nous défendons dans notre analyse du contenu éditorial du magazine. Ce projet, né d'une certaine insatisfaction face à une critique idéologique qui analyse le contenu éditorial de Life dans son seul contexte politique, se traduit par la volonté de mettre en œuvre une méthodologie qui se propose de revisiter les pratiques intellectuelles élaborées par Life autour de la photographie. En concevant la réflexion autour des fonctions heuristiques, narratives et cognitives des images photographiques — assorties de leur mise en récit à travers des essais photographiques fondés sur une relation iconotextuelle qui met le texte au service de la narration visuelle — l'objectif de cette thèse est de faire la lumière sur le contenu éditorial d'un magazine qui semble paradoxalement mal connu, au regard de son statut iconiqueAs a leading 20 Century American photojournalism magazine, Life benefits from a prestigious aura turning it into an iconic entity — in press history, scholars usually refer to Life as a paragon of picture magazine when in the meantime Life plays a part in collective history as a Visual record of 20th Century American society -. The first part of this doctoral dissertation dedicated to examining the historiography of Life, explores the emblematic status held by Life, both on the academic field of press history and American studies. As a mainstream culture artifact, and under the impulsion of the counterculture of the 1960s, Life has largely been criticized for being a conservative media. Due to a dissatisfaction with the ideological critique towards Life — which often reduces the study of its editorial content to political issues — the second part of this work focuses on Life's editorial practices, so as to understand how its news content serves the establishment of a Visual culture, rather than offers a sole political statement. These first two parts are preliminary to the main purpose of this doctoral dissertation, which is to identify and analyze the main stakes that are raised when considering Life as a cultural artifact. Thus, the scope of the third part is to investigate Life's use of photography as means to celebrate and evaluate the cultural references the magazine highlights. The corpus of this investigation is a series of case studies, based on a selection of photo-essays published in Life during the early 1950s, when the magazine reached its golden age, so as to revisit this overrated area
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Larson, Christina F. "America Seen through the Work of Paul Sample." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427980908.
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Happ, Deborah Lima. "Um romance em cada foto: a popularização da fotomontagem por Francisco Aszmann nas décadas de 1950 e 1960 no Brasil." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-09102016-142627/.
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Esta dissertação visa estudar a produção do fotógrafo Francisco Aszmann (1907 - 1987), húngaro naturalizado brasileiro, que foi um dos responsáveis pela popularização da fotomontagem no Brasil entre as décadas de 1950 e 1960. Logo que chegou ao país, em 1948, Francisco Aszmann fixou residência na cidade do Rio de Janeiro, onde trabalhou para a revista Sombra e abriu um estúdio comercial de fotografia que faria sucesso junto a elite carioca. Aszmann atuou não apenas como fotógrafo, mas também como professor de fotografia, membro de fotoclubes, autor de livros sobre fotomontagem, colaborador de periódicos da grande imprensa e editor da revista especializada Fotoarte. Para Aszmann, a fotografia so atingia o patamar da arte por meio da fotomontagem. Esta pesquisa tem entre seus principais objetivos contribuir para a revisão de sua obra, para a identificação de suas referências artísticas e para a sua contextualização de sua produção a partir do conceito de kitsch na arte. Apesar das inúmeras atividades que desenvolveu no campo da fotografia, o trabalho de Francisco Aszmann é praticamente desconhecido nos dias de hoje. Um romance em cada foto foi o título de uma seção publicada por ele na revista mensal A Cigarra, entre 1950 e 1955, que irá nos ajudar a compreender a sua concepção de fotografia artística.This dissertation aims to investigate the photographic work of Francisco Aszmann (1907 - 1987), who was an Hungarian-born Brazilian, in part responsible for photomontages rise to popularity in Brazil between the 1950s and 1960s. As soon as he arrived in this country, in 1948, Francisco Aszmann took up residence in Rio de Janeiro, where he worked at Sombra magazine and opened a commercial photography studio that would be successful within Rio de Janeiros elite. Aszmann acted not only as a photographer, but also as a teacher, a photoclubs member, author of books , collaborator of illustrated magazines with wide circulation and editor of the specialized journal Fotoarte. For Aszmann, photography only achieved art status through photomontage. The main objectives of this research are to contribute with the revision of his work, for the identification of his artistic references and to contextualize his work beginning at the concept of kitsch in art. Despite his numerous activities in the field of photography, Francisco Aszmanns work is practically unknown at the present day. Um romance em cada foto (roughly translated One story in each photo) was the title of a section published by him in the monthly magazine A Cigarra, between 1950 and 1955. The relation established between texts and photographies in this section will help us to comprehend Aszmanns conception of artistic photography.
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Lebensztayn, Ieda. "Graciliano Ramos e a Novidade: o astrônomo do inferno e os meninos impossíveis." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-24112009-160650/.
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Apresento a Novidade, revista alagoana de 1931 que procurou combater chavões na política e na arte. Foram seus colaboradores: Alberto Passos Guimarães, Aurélio Buarque de Holanda, Aloísio Branco, Carlos Paurílio, Graciliano Ramos, Jorge de Lima, José Lins do Rego, Santa Rosa, Valdemar Cavalcanti, Willy Lewin. Como os jovens desse grupo reagiam ao sem novidades e foram chamados de meninos impossíveis, analiso uma cena de Sem novidades no front, de Erich Maria Remarque, e O mundo do menino impossível, de Jorge de Lima, percebendo no grupo elementos de modernismo, regionalismo, atualidade crítica e preocupação social. A partir de textos de alguns escritores do semanário, esboço seus perfis e apreendo sua postura crítica contra o lugar-comum de miséria, ignorância, violência e política personalista. Centrados nessas questões, sobressaem os textos de Graciliano Ramos na Novidade: o capítulo XXIV de Caetés e as crônicas Sertanejos, Chavões (inéditas em livro), Milagres e Lampião. Constituem a melhor expressão crítica da revista e deixam ver os impasses contidos em estereótipos, que o escritor combateu ao construir suas personagens. Estudo esses textos, vinculando-os a Nuvens e Os astrônomos (Infância) e, num movimento analítico-interpretativo de cenas e imagens centrais de S. Bernardo, Angústia e Vidas secas, busco a poética, essencialmente ética, de Graciliano Ramos. Desvelando o impasse do intelectual num mundo de violência, ele configurou, artisticamente juntos, os problemas sociais e morais de seus protagonistas, de modo a evidenciar, a um tempo, a ordem social iníqua, a necessidade de compreensão do outro e um sentido de vanidade de tudo. Esforçando-se por compreender as semelhanças e diferenças entre as palavras, as coisas e os seres, resistiu ao lugar-comum por meio da escrita literária.I introduce here Novidade, a magazine published in 1931 in Alagoas, a Brazilian northeastern state, whose main purpose was to combat platitudes in politics and art. Some of its contributors were: Alberto Passos Guimarães, Aurélio Buarque de Holanda, Aloísio Branco, Carlos Paurílio, Graciliano Ramos, Jorge de Lima, José Lins do Rego, Santa Rosa, Valdemar Cavalcanti and Willy Lewin. Since the young among the group reacted against the lack of novelties and were called meninos impossíveis (impossible boys), I analyze a scene of Erich Maria Remarques Sem novidades no front (All quiet on the western front) and Jorge de Limas O mundo do menino impossível, apprehending in the group traits of modernism, regionalism, critical current issues and social concern. From texts of some writers of the magazine, I present their profiles and apprehend their critical attitude against the commonplace of misery, ignorance, violence and personalistic politics. Focused on those questions, Graciliano Ramos texts in Novidade stand out: the chapter XXIV of Caetés and the articles Sertanejos, Chavões (unpublished in a book form), Milagres and Lampião. They are the best critical expression of the magazine and permit seeing the impasses present in stereotypes, which the novelist fought against when he built his characters. I study those texts, linking them to Nuvens and Os astrônomos (Infância) and, in an analytical-interpretative movement of central scenes and images of S. Bernardo, Angústia and Vidas secas, I quest for Graciliano Ramos essentially ethical poetic. Revealing the intellectuals impasse in a world of violence, he set up his protagonists social and moral problems, artistically embodied together, showing, at the same time, the unequal social order, the need for understanding the other and a sense of vainness of everything. Straining to comprehend the similarities and differences among words, things and beings, Graciliano resisted the commonplace through literary writing.
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Mannala, Thaís. "Melindrosas e garotas: representações de feminilidades nos traços de J. Carlos (1922-1930) e Alceu Penna (1938-1946)." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1187.
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CAPESNo presente trabalho serão analisadas representações de feminilidades em dois periódicos distintos: as Melindrosas na revista Para Todos... e a coluna Garotas na revista O Cruzeiro. Os recortes compreendem os anos de 1922 a 1930 para as Melindrosas e de 1938 a 1946 para as Garotas, privilegiando uma sequência entre décadas subsequentes, de modo a entender como as representações de feminilidades se modificaram ou se mantiveram. Interessa também investigar de que maneira o humor e a visualidade contribuíram para normatizar papéis e relações entre gênero, em conjunto com políticas públicas. As revistas visavam trazer a identificação com discursos hierarquizantes, atuando como pedagogia de gênero. Contudo, percebe-se que o humor buscou, nas fissuras das representações, a dupla moral, na qual as mulheres negociavam espaços de atuação e liberdade. Tanto Melindrosas quanto Garotas possuíam táticas de convencimento e de sedução que as levaram a realizar desejos e a conquistar alguns de seus objetivos. Elas questionaram e enfatizaram as contradições e tensões das respectivas décadas. Por vezes, indicavam pretextos para pensar nas mudanças sociais, de comportamentos e no modo como os homens se colocavam neste quadro.
In the present work femininity representations will be analyzed in two separate journals: the Flappers in the magazine Para Todos... and the Garotas column in the magazine O Cruzeiro. The cuts include the period from 1922 to 1930 for the Flappers and 1938-1946 for Garotas, favoring to a sequence of subsequent decades, in order to understand how representations of femininity have changed or remained. We also want to investigate how the mood and visuality contributed to standardize roles and relationships between gender, together with public policy. Magazines aimed to bring identification with hierarchized speeches, acting as gender pedagogy. However, we notice that humor sought in the fissures of the representations, the double standard, in which women were negotiated spaces of action and freedom. Both the Flappers and the Garotas used tactics to convince and seduction that led them to grant wishes and achieve some of their goals. They questioned and emphasized the contradictions and tensions of their respective decades. Sometimes indicated pretexts to think about the social changes of behavior and how men were placed in this board.
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Boovy, Bradley Robert. "Men reading men : homophile magazines in 1950s West Germany." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-08-6032.
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This study focuses on how homophile magazines functioned to bring homosexual men together as readers and members of unique reading publics in the wake of National Socialist persecution of homosexuals, and in the context of postwar reconstruction, cultural normalization, and the Cold War. Through a combination of close and contextualized analysis, I argue that the magazines Die Freundschaft, Die Insel, Der Weg, PAN, Hellas, and Der Ring, created a space in which contributors and readers could articulate and come to understand their experience as homosexual West Germans. Through homophile magazines, they engaged in discourses that had bearing on their lives as homosexual men, yet the magazines also spoke to their concerns and interests as men living in the early Federal Republic. Thus on the one hand, homophile magazines provided forums for debate and discussion of homosexuality and other issues of interest to readers such as the nature and genesis of same-sex desire, the “role” of the homosexual man in society, campaigns for reform of Paragraph 175, or portrayals of same-sex desire in world literature. On the other hand, I argue that homophile magazines also reflected contributors’ and readers’ engagement with other, seemingly unrelated West German
publics beyond the ones engendered by the magazines themselves. As my examination of the magazines reveals, numerous points of intersection emerged between homophile publics and the larger West German public sphere under conditions of reconstruction. As such, this study contributes to scholarship on homophile cultural production and expands our understanding of sexual publics by asking both how West German homophile magazines were unique and how they were uniquely West German.text
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HUANG, SHIH-YING, and 黃詩瑩. "The Exploration of Women's Rights Development in Taiwan's Magazine Awakening in the 1980s and 1990s." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/3sq28b.
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碩士國立臺北教育大學
社會與區域發展學系碩士班
107
Looking back on the development of Feminism in Taiwan, Lu Xiulian's New Feminism sounded the morning bell of the women's movement in the 1970s. In 1982, Li Yuanzhang established the Awakening Foundation and published the magazine Awakening to awaken the consciousness of self within women. It was concerned with women’s issues and fight for women’s rights to reach a gender-equitable society. This research uses textual analysis to explore the issues of feminism in the 1980s and 1990s magazine Awakening. The research purposes are: (1) To explore the issues of "women's physical autonomy and personal safety" in the magazine Awakening. (2) Exploring how magazine Awakening promotes gender equality in life. (3) Summarizing the relevance between magazine Awakening and the development of women's rights and summing up its effectiveness. This research divides the topics of concern in magazine Awakening into two major aspects, which are then partitioned into nine issues to further explore how they are promoted. "Women's physical autonomy and personal safety" includes: criticizing beauty pageants of objectifying women, supporting women's reproductive rights, demonstrating against child prostitution, establishing the Sexual Assault Prevention Act to protect women's personal safety, and constituting Family Violence Prevention Act to prevent violence in marriage; on the other hand, the daily gender equality issues include: amending The Part of Family of the Civil Code, emphasizing the importance of women's political participation and reforming textbooks’ Gender bias and discrimination. Awakening is indispensable for the development of women's rights in Taiwan. It calls on women to be conscious and to participate in social movements, to care about policies and promote the formulation and revision of laws to achieve gender equality goals. The relevance of magazine Awakening and women's rights development is inseparable. It represents the development of Taiwan's women's movement. In an era of vigorous social movements, it pays attention to women's issues in an multifaceted way and contributes a lot to women's rights and interests.
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Ling-Jr, Kung, and 孔令芝. "Modern Women : Making Image of 1930s Shanghai through Linglong Women’s Magazine." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/52935778120286901187.
Full textAbstract:
碩士國立暨南國際大學
歷史學系
94
Linglong Women’s Magazine was a weekly picture magazine published in Shanghai in the 1930s. It is pocket-sized format. The magazine’s goal was to “enhance women’s beautiful life, and advocate refined entertainment in society.” Linglong strongly encouraged readers’ feedback and contributions. It encouraged its readers to speak up for themselves. A substantial portion of each issue was devoted to articles by readers and photographs of their daily lives. In my thesis, the main idea is to discuss the image-making of modern women in Linglong. In chapter two, I’d like to introduce the editors, readers and the press of Linglong. From chapter three to five, I’d like to discuss how the outside beauty, the love world of inner minds and the useful knowledge create the modern women image. Linglong speaks for women’s heart. It presents the hope of Shanghai women towards the independence and freedom in the 1930s decade. In fact, they combine both tradition and modern features. They are not only good mother, wife but also modern women. Linglong let us know the modern women’s confidence, intelligence, health, and good morality. They are both the pioneers of the fashion statement and the ideal mothers always taking care of her family. It is the image that Linglong tries to tell us.
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Wei-ting, Tseng, and 曾暐婷. "The Visual Designs of Taiwan Tourism in the Official Tourism Magazines in the 1960s." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/kfbwar.
Full textAbstract:
碩士國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
103
After its unsuccessful military campaign against the Chinese Communists during the Civil War, the Nationalist Government moved to Taiwan and proclaimed its legitimate status as the sole representative of China. With the military support and financial aid given by the United States, private and official organizations in the Republic of China (R.O.C.) were established to promote Taiwan tourism, expecting to attract foreign tourists, to earn foreign exchange and to win international recognition as the ‘Free China’. Since the 1950s, the R.O.C. government has nonetheless created an official visual industry in promoting Taiwan tourism. This dissertation examines three major official tourism (Guanguang) magazines and analyzes the tourist literature as well as the scheme via which specific photographs and paintings were selected and organized. Borrowing the theories from Dean MacCannell’s tourist attraction, John Urry’s tourist gaze and W. J. T. Mitchell’s landscape and power, ‘Chinese traditional culture’ or ‘visual Chineseness’ will be revealed and proved to be the focal point of R.O.C.’s tourism industry in the 1960s.
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Liu, Guei-Jyun, and 劉桂君. "Discourse analysis of modern motherhood constructed in Fuyou magazine in the 1960s." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/77551321705289769888.
Full textAbstract:
碩士國立中山大學
傳播管理研究所
101
KMT withdrew to Taiwan in 1949 after the end of the world war. In order to reinforce the differences between “Free World” and “Communist World”, KMT rebelled against Communist and Russia. KMT declared a state of emergency and general mobilization. During the war, the women discourse also followed the leading of authoritative women organization. Kuomintang Women’s Working Committee published Fuyou monthly to propagandized women policy, encouraged women to work and improve women’s lives. Besides fighting against the ideology of communist, economic development is the symbol of modernity. During 1960, the economic development in Taiwan was transformed from agricultural into light industry. Under the labor-intensive industrial policy, Taiwan was short of labor force due to developing industry too rapidly. The shortage of the labor force increased job opportunity for women. On the other hand, Obligation education extended from 6 years to 9 years after KMT took over Taiwan. This policy let women highly educated. Education development enhanced labor forces. Most young working women were graduated from high school. Those educated working women were “modern”. Modernity is the characteristic that traditional women did not have. This study examines Fuyou monthly from the perspective of modernity. Two points are aimed at. One is what language strategy did Fuyou monthly use to construct motherhood knowledge. The other is how traditional motherhood was articulated with modernity in Fuyou monthly. Drawn on the knowledge/power perspective based on Foucault, the study selects and analyzes 105 volumes of Fuyou published during the 1960‘s to explore how the government selected different elements from the “modern” and “traditional”, “west” and “ east,” and combine them with Chinese traditional culture to constructed so-called “Modern Mother” The study shows that there were 2 kinds of discourses about motherhood knowledge. One is based on science. This discourse emphasized that it is a must to raise a child with the understanding of medical science and child psychology. Mother and the way to raise a child were disciplined and monitored by medical hegemony and technocratic. In addition, with the influences of industrial revolution, household technology emerged, which increased housework and raised the standard of being a good mother. What Motherhood should be expanded. The other discourse about motherhood knowledge is how to be a mother under national development. Being educated career women, mothers were taught to put their families in the first place to benefit the development of country. The image of a Mother in Fuyou monthly was a devoted one who needed to take care of her family and go out to work. Meanwhile, based on the discourse that child is the root of a country, Fuyou promoted the democratic parent-child relationship. The study suggests that scientific motherhood and motherhood under nationalism have been both constructed as “modern” and “advanced”. Modern Motherhood in Taiwan has been simultaneously influenced by American modernity emphasizing the realization of Western motherhood as well as Chinese traditional gender norm which continues accentuating mothers'' roles in childcare, which reinforcing the age-old concept of "men managing external affairs women internal." Therefore, it can be said that the formation of modern motherhood was not only based on the new and western ideas but also on traditional feminine gender roles in response to the nation''s development policies; both factors are able to be discovered in Fuyou''s narratives on motherhood. Fuyou''s narratives indicate that Taiwan''s modernization is not really as advanced, revolutionized and anti-traditional as the West describes, but mingled with the Oriental tradition which demands mothers to perform chores and stay at home.
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Bečanová, Nikola. "Anotovaná bibliografie díla Růženy Vackové z let 1929-1948." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436341.
Full textAbstract:
This thesis is a complete bibliography of texts written by Růžena Vacková published in between years 1929 and 1948, supplemented by contemporary contextualisation of the time and characteristics of individual periodicals in which these texts appear. A substantial part of this study deals with magazines Vacková has contributed to consistently for a long period of time. This study presents a brief biographical summary, serving to facilitate the classification of individual texts and their relation to the author's persecuted life. The study also includes a brief outline of her views as an author and as an critic. Keywords: Růžena Vacková, bibliography, criticism, magazines of the 1930s and 1940s
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Hsieh, Tsung-han, and 謝宗翰. "The Study of Interdisciplinary Arts in 1960s Taiwan: Centering on the Designer Magazine." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/2g4np4.
Full textAbstract:
碩士國立臺南藝術大學
藝術史學系藝術史與藝術評論碩士班
106
In 1960s, Taiwan under the background of developing design concepts and foreign literary trends being introudction , the magazine play the role as exhibitions and message production, weaving the communication among the artists in different fields. Opens up not only the reflection of the essence of art, but also the preliminary cohesion of the concept of contemporary art, so that shape the significance of artist in between the interdisciplinary activity. As the research object, Designer magazine which published in 1967, contents widely contained fields of art, design, advertisement, architecture, etc, and communicated with Hwa-Wai Association, Free-Form Art Exhibition, 70s Super Exhibition; furthermore, it held avant-garde art practice of Huang-Kuo-Su Exhibition, spreading new perspectives about graphic design and shaping the multiple phases. To observe the interactive thoughts and dialogues among the artists inside the magazine, this thesis will focus on analyze Designer magazine and the various kinds of exhibitions which had the relationship or progress with it in 1960s. Using the framework to gaze at the possibility of taking magazine as a space, and outline the significance of transgression in 1960s Taiwan art history.
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Park, Hyunyoo, and 朴炫惟. "Construction of Folk Scenes in 1970s Taiwan and Korea: "Rock Magazine" and "Monthly Pop Song"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/bb2hs9.
Full textAbstract:
碩士國立臺灣大學
音樂學研究所
106
This research examines the issue of localization of popular music through folk music in the 1970s Taiwan and South Korea. Two representative pop music magazines in this period, Rock Magazine (Taiwan) and Monthly Pop Song (Korea), are examined and compared to show how the American folk as a genre was localized and modified, and what the possible reasons would be. The two magazines are valuable data which show how Anglo-American popular music was promoted and localized each in Taiwan and Korea. Furthermore, the publications contributed greatly to the construction of domestic pop scenes and connections between participants of the music scenes, not only promoting the pre-existing overseas popular music. In particular, the magazines participated actively in the emergence of domestic folk scenes. Folk music was one of the most prevalent musical trends of the youths in the 1970s Korea and Taiwan, along with other genres of overseas-oriented popular music. Korean and Taiwanese youths participated in constructing new domestic folk scenes as audience, musicians, and workers in the music industry, arousing changes in domestic pop music environments. They adopted many musical elements in the American modern folk revivals, but domestic folk scenes were placed in different contexts from American ones. Specificities of Korean and Taiwanese folk come from the historical contexts of domestic pop scenes, as well as different mindsets of scene participants, which are shown through these two magazines. As well as analyzing the publications, this research also tries to give an overview of popular music and the emergence of folk in Korea and Taiwan. The 1970s Korean and Taiwanese folk, as genres and scenes, were two separate phenomena in themselves. Still, this paper examined, compared and contrasted the two different cases together, starting from several notable common features of folk’s development in Korea and Taiwan. Multiple reasons, including political limitations under authoritarian regimes, specific socio-cultural conceptualizations of youth, and prevalence and internalization of Anglophone pop music, are mentioned as the reasons for similarities. At the same time, through investigating magazines and other related materials, this research also dealt how Korean and Taiwanese folk, which share the root of modern American folk, diverged under different domestic circumstances.
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Hsieh, Hsin-Ting, and 謝欣廷. "Monetary World, Distinctive Body, Indecisive Women ── A Study on Taiwanese “Mental-Urbanization” from Popular Magazines During the in 1930s." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/5v43g3.
Full textAbstract:
碩士國立高雄師範大學
臺灣歷史文化及語言研究所
107
The modernity experienced by Taiwanese society during the Japanese occupation period is a modernity without subject construction, and it is the "refracting modernity" brought about by Japan after the Meiji Restoration. In order to express the embarrassing interval in Taiwans modernity, this paper explores the term "spiritual urbanization" based on its own research results, pointing out that "urbanization" is the key to Taiwans transition from traditional society to modern society. The guidelines silently guide people on how to arrange daily life and plan life course. "Psychic urbanization" is the destruction and renewal of traditional values and the exploration of new values in the process of modernization of Taiwanese social groups during the Japanese occupation. Construction, the dynamic trajectory of the presented mind, In order to explore the spiritual construction project in the social life of the Taiwanese society during the Japanese occupation period, this thesis conducts qualitative investigations through important newspaper publications during the Japanese occupation period, and analyzes three key performance paths: "money", "body", " According to the research results, the names of the three paths are: "The world of money, the body of a show, and the movement of women." This thesis is divided into five chapters. The first chapter "Introduction" establishes the basic concept of "spiritual urbanization" and confronts this topic of "modernization". The second chapter, "Money World", outlines the origin of the monetary concept during the Japanese occupation period, and explains the emergence of banknote currency after the currency reform, so that the Taiwanese social group has a new change in the space and meaning of the concept of land and occupation. The third chapter, "Sexual Body", examines the pursuit and acceptance of new norms and new values by Taiwanese society during the Japanese occupation period through specific changes in body images such as haircuts, footing, modification, and dancing. The fourth chapter, "Wandering Women", pays attention to the image of female students and professional women in newspaper publications, and finds that they have extended their life stages through academic and career forms. The fifth chapter "Conclusion" summarizes the full text, and summarizes the research results of this paper, and presents conclusions, deficiencies, and future prospects.
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Chu, Lung-Hsing, and 朱龍興. "The image and influence of intellectuals in 1930s’ Shanghai: centered on the Young Companion Magazine (1926-1937)." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/z2s337.
Full textAbstract:
博士中原大學
設計學博士學位學程
102
This thesis investigates the image and influence of intellectuals in 1930s Shanghai through the lens of the Young Companion Magazine (1926–1937). From a historical perspective, the image of intellectuals indeed revealed different patterns in terms of class and gender issues. The significance of the transformation not only indicates the character of printing media but also of designers. In addition to confronting the differences between the East and the West, the intellectuals in Shanghai have to mediate changes from the past to the present regarding arts and culture. In this situation, applied arts’ importance increased sharply. Furthermore, Shanghai provided a starting point for the exploration of design in modern China, while progress in multiple directions, such as national and commercial design, built up an exceptional urban culture in 1930s Shanghai.
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Ko, Ching-Chi, and 柯景棋. "Reflections on the Society in Taiwan in 1980s: A Study Based on The World We Live Magazine." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/jfg4sz.
Full textAbstract:
博士中國文化大學
史學系
103
It was a crucial period for Taiwan of its transformation in the 1980s. It included the transitions of politics, the developments of economics and the changes of society, all of which deviated from the traditional context. To find a new way out, the intellectuals penetrated into and gave illuminating insights to the underlying social problems beset Taiwan at that time. The World We Live magazine, which was brought out in November 1985, typically presented the spirit of the time. The World We Live magazine kept the left wing tradition in Taiwan alive, taking the point of view of the hard-working masses, probing into the problems of humanity, history, society, way of life, and environment. The magazine uncovered the pattern of social developments in Taiwan during the forty years after WWII, making an intense criticism of the Cold War structure in Taiwan and its influence on the society. This dissertation sorts out and analysis comprehensively the articles in The World We Live magazine, of which a total of 47 issues brought out, with the approaches of ‘textual analysis’ and the exploration of the historical context. This dissertation aims to expound the characteristics of the society and the social movements in Taiwan in the 1980s, attempting to interpret the difficulties of the social development in Taiwan in this period. This dissertation consists of seven chapters. The first chapter is an introduction to the origins, motives, purposes of the research; as well as to literature review and methods or theories the research adopted. By means of historical review, the second chapter ‘1980s: Taiwan in Transformation’ analysis the circumstances in Taiwan in the 1980s from political, economic, and cultural perspectives. The third chapter ‘The Inheritance of the Left in Taiwan’ aspires to achieve the goals as follows: Introducing the developments of the left wing and the intellectuals of the left in Taiwan in different periods, making efforts to explain the context and inheritance of the developments, inferring from which that the real intentions Chen Ying-Zhen founded The World We Live magazine. Chapter four ‘Issues in The World We Live Magazine’, which plays a pivotal role in this dissertation, carries out a comprehensive examination of The World We Live magazine textually as well as graphically. By means of which, the author attempts to compensate for the limitations in previous studies of this magazine. Scrutinizing the impact of this magazine on the social movements in Taiwan in 1980s is the main purpose of chapter five ‘The World We Live magazine and the social movements in Taiwan in the 1980s.’ The sixth chapter ‘The cover stories of The World We Live magazine and its meaning’ shows that the cover stories of each issues had been reflected the rapid transitions of political and social problems in Taiwan in 1980s; furthermore, this chapter analysis the process of the The World We Live magazine from its start, transformation to the end. Finally, the last chapter reaches a conclusion on the reflections on the society in Taiwan and makes an examination of the developments and influences of the issues mentioned above.
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Snowden, Lorraine Caroline. "Constructing the Canadian teenager : the Star Weekly Magazine and representations of the young during the late 1940s." Thesis, 1997. http://hdl.handle.net/2429/6428.
Full textAbstract:
While the postwar era has attracted a great deal of attention in recent years, the experience of
young Canadians through the late 1940s has been largely overlooked. As a result, the postwar
phenomenon of teen culture, and construction of the Canadian teenager, have relied heavily on
American interpretations. This thesis, by examining the Canadian scene, suggests the beginnings
of another perspective on the postwar positioning of adolescence in the English-speaking world.
Focussing on the immediate postwar years (1945-1950), representations of young people will be
assessed through a popular medium, The Star Weekly Magazine. If the opinions reflected in this
widely distributed Canadian periodical are any indication, attitudes were shifting dramatically
through these years. In the immediate aftermath of war, the development of Canada's young was
rarely addressed by Star writers. By 1950, the subject was front and centre. Driven by
developments in the field of mental health, Star contributors grew preoccupied with the
construction of well-balanced citizens. Young Canadians were at the centre of this movement.
If young people matured over a longer period of time, they would be less likely to follow in the
wayward path of parents. This was the message relayed through Star writings during the late
1940s. While presented in progressive terms, as an opportunity for young people to internalize
essential values and develop social skills, The Star's emerging ideal was somewhat of a mixed
blessing. In contrast to earlier counterparts, Canada's postwar teenagers were to be continuously
monitored and subject to the dictates of parents.
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Wang, Chun-Jung, and 王淳容. "Women’s Magazines’ Portrayal of Modernity and the Urban Narrative of Shanghai in the 1930s: A Study Based on The Women’s Pictorial." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/ac623x.
Full textAbstract:
碩士國立清華大學
中國文學系
104
This study uses the pictures and articles in issues of The Women’s Pictorial (from 1933 to 1937) to discuss how the magazine portrayed women in the 1930s’ Shanghai and analyzes how women’s images in the publications had an influence on their daily life. Shanghai in the 1930s was a bustling metropolitan city as well as the cultural center of China. In the consumer society of the day, which was highly reader oriented, “pictorial culture” became a popular contribution of the publishing industry in Shanghai. However, some pictorials distinguished themselves from the others that were full of pictures by publishing literature works of famous writers. The Women’s Pictorial was one among these unique literary pictorials; it was edited by the cartoonist Guo Jianying and several works of Chinese modernists were published in its issues. However, the concern of this study is to analyze the urban woman, the subject of The Women’s Pictorial, from two perspectives: commercial marketing and experimental literary forms. I first investigate the pictorial market in the 1930s’ Shanghai and the historical background of the Liang You Company. Second, I discuss the gender issues in The Women’s Pictorial by specifically examining the visual and rhetorical forms of pictures and articles. Finally, I aim to reveal how The Women’s Pictorial depicted the urban narrative in its unique content.
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Šimůnková, Lucie. "Zlatý máj - časopis o umění a literatuře pro děti a mládež a osobnost Z. K. Slabého." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-329049.
Full textAbstract:
Master thesis Zlatý máj - Magazine about Children's Literature and Art and the Personality of Z. K. Slabý follows foundation and history of Czechoslovak literary journal Zlatý máj. It has been published from September 1956 till December 1997, when 391 issues came out in forty one volumes. The magazine experienced its golden era in 1960s, when it participated not only in domestic, but also in international discussions about children and youth literature. But it also endured through the time of so called normalization (1969 - 1989), when most of literary or cultural magazines perished, and its final end was brought by lack of finance after formation of democratic Czech Republic. The name of writer and literary critic Zdeněk Karel Slabý has been tied to Zlatý máj for the most of its existence. He acted at first as the redactor, in two periods as editor in chief (1968 - 1971, 1990 - 1992) and at last as a member of board of editors. As a part of his job, but also because of his active and creative nature he shaped or co-shaped the image of Zlatý máj. His authorial signature is visible in his texts, his opinions and preferences formed the sections and content of the magazine. Master thesis analyses the work of Z. K. Slabý and defines its place and importance in context of the literary theory and critique.
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Lin, Yu-Fang, and 林雨芳. "The constitution of a new mode of“ modern ” life in Shanghai in 1930s ─ analysis of the advertisements in the magazine Linglong." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/87358177374219153171.
Full textAbstract:
碩士淡江大學
法國語文學系碩士班
95
This research emphasizes on analyzing the advertisements and the images in the magazine Linglong to see how it built up the “modern” life in Shanghai in 1930. Instead of tending to represent the reality of that specific time, the studies of decoding the picture and the discourse which are the most fundamental elements of a myth, became the first aim of the author. In other words, it’s the process of giving a birth to a myth drawing the best attention of the author. From the viewpoint of post-colonialism, Homi. Bhabha’s mimicry theory is believed to have a better interpretation of this half-colonized city, Shanghai, showing people how this legendary metropolis bowed to the Western cultural hegemony, and then, combined with their own traditions and customs to develop the distinguishing characteristic of a city. In the meantime, some other works of literature and of cinema are also highly considered in order to have a more complete vision of the mass media in 1930 towards this particular moment. In conclusion, it will be more significant to transmit the interaction between China and Western to Taiwan and China in the future study.