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Dissertations / Theses on the topic '1960s-1970s'
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1
Szarycz, Ireneusz. "Poetics of Valentin Kataev's prose of the 1960s and 1970s." Thesis, University of Ottawa (Canada), 1987. http://hdl.handle.net/10393/5274.
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Hodgson, James Neil. "Male homosexuality in Brazilian cinema of the 1960s and 1970s." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/male-homosexuality-in-brazilian-cinema-of-the-1960s-and-1970s(d1678b48-5d3c-47fa-9a06-b4b0d72ed49b).html.
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The representation of homosexuality in the Brazilian cinema of the 1960s and 1970s is generally dismissed as homophobic on the grounds that it confirms stereotypical and oppressive views of homosexual men. While it is true that many films produced during the era repeat conventional notions of sexual identity, this dismissal arguably overlooks a variety of subtle and subversive representations of homosexuality. To contest the prevailing view, eleven films have been selected from important movements of Brazilian cinema of the period; these include examples of avant-garde and popular filmmaking. An analytical approach informed by queer theory – a critical account of homosexuality and sexual identity – is used to make a series of close readings of narrative form and content. It is suggested that the apparent heterosexism of many of the films is shown to be tacitly or accidentally subverted via the implication that sexual identity is unstable and contested. A number of films are shown to illustrate ways in which oppressive hierarchies might be disabled through a reconfiguring of homosexual identity. It is argued that film form – the films’ self-referential or reflexive aspects, as well as the way in which the films construct spectating positions – is the central factor in subverting conventional views of homosexuality. Such form facilitates multiple readings of the content, therefore enabling a queer interpretation to be posited. Ultimately, it is argued that the value of these films lies in the sometimes contradictory fashion in which they present oppressive notions of homosexuality on-screen while at the same time gesturing towards ways in which such oppression could be challenged.
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Straine, S. E. "The ground of drawing : graphic operations in the 1960s and 1970s." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1416487/.
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This thesis aims to rethink the terms for drawing as it negotiated dematerialisation and deskilling at the beginnings of conceptual art in the mid to late 1960s. The survival of drawing at this time is considered in terms of what a ground means in relation to an image, concentrating on questions of finish, temporality, skill, and materiality – most crucially that of paper. Over five monographic chapters, I set out the foundational and flexible proposition of the ground of drawing: an equally material and conceptual framework that disrupts the direct registration of line and trace that process-led accounts of drawing in the expanded field have so often focused on. Accepting both the precision and pollution of drawing as it existed within the mass media landscape of the 1960s and early 1970s, the examples discussed move away from the active flight of linearity in favour of rendering, depiction, narrative or visual deception, revealing drawing’s relationship to the world to be both potently iconic and stubbornly indexical. Chapter 1 tackles drawing’s newly conceptual relationship to trompe l’oeil through Vija Celmins’s use of photographic paper ephemera. Chapter 2 explores the concepts of over-working and after-drawings as together they control and obscure Franz Erhard Walther’s interactive sculptural practice. Chapter 3 reappraises Bill Bollinger’s intermedial practice of sculpture, drawing and installation to focus on his works on paper shaped by industrial gestures and a blindness of technique. In chapter 4 the ground shared by drawing and performance in the work of Alex Hay is used to interrogate the material and conceptual potential of the paper plane – referencing drawing only at an oblique angle. The final chapter thinks through the idea of post-photographic drawing within an image-saturated print and media culture, ultimately reconciling the durational, illusionistic drawing of Ed Ruscha with its hidden processual base.
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Bodling, Kurt Allen Thayer. "The Jesus Movement of the 1960s and 1970s as a "Great Awakening"." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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Bielby, Clare. "Print media representations of violent women in 1960s and 1970s West Germany." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3226.
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A proliferation of media discourse on the ‘phenomenon’ of violent women in 1960s and 1970s West Germany suggests that the violent woman is a troubling figure who provokes both fascination and fear. Julia Kristeva’s notion of the abject provides a language for understanding and accounting for the complex mixture of emotions the figure elicits. For Kristeva, abjection is a violent revolt against something which threatens the subject, which may be both “other” or foreign, and familiar; we abject that which cannot be tolerated, cannot be thought or known, which provokes both desire and repulsion. Troubling about the violent woman, and what renders her culturally unintelligible or unimaginable, is that she takes life rather than giving it. In this study, I trace the various attempts made by the print media to assimilate the violent woman, to make her thinkable and knowable and, as a result, to defuse her threat. More frequently, she is made other, abjected either in the Kristevan sense or in the (related) more literal sense: ‘cast off,’ ‘excluded,’ ‘rejected’ or ‘degraded.’ West Germany of the 1960s and 1970s provides a good time-frame for the study: West German terrorism, which involved a large number of women, was at its peak in the 1970s, and a number of high-profile trials against non-politically violent women also took place during the period. In chapter one of the thesis, I look at how the violent woman is rendered the negative and ‘unnatural’ (m)other of the proper German woman and nation, the better to bolster hegemonic understandings of both woman and nation; in chapter two, how she is made hysterical and feminised so as to defuse the threat that she poses; in chapter three, how her crime is redefined as a crime against her gender and sexuality (one idea here is that it is the ‘man inside’ who is to blame). Finally, in chapter four, I explore how the violent woman is abjected through association with filth and defilement. Arguably it is because the strategies which attempt to assimilate, to know and to name her fail or are only partially successful, that the violent woman must be abjected from the body politic through association with dirt.
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Treglia, Laura. "Guerrilla girls : rebellious women of the Japanese 1960s-1970s 'pinky violence' films." Thesis, SOAS, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702934.
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Herrick, Andrew Robert. "A hairy predicament the problem with long hair in the 1960s and 1970s /." Morgantown, W. Va. : [West Virginia University Libraries], 2006. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=4932.
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MAROJA, CAMILA SANTORO. "THREADING THE LABYRINTH: THE WORK OF ROBERT MORRIS IN THE YEARS 1960S-1970S." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=8481@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Rejeitando a noção de uma produção artística pautada em
uma linearidade,
o trabalho de Robert Morris das décadas 1960-1970 escapa a
rótulos como
minimalista, arte processual ou arte de site-specific,
embora seus escritos e obras
tenham sido fundamentais para que críticos e historiadores
de arte pudessem
delimitar e/ou cunhar esses mesmos termos. A mobilidade
adotada pelo artista -
seja na adoção de um espaço e de um tempo da obra de arte
como co-extensivos
aos de seu público, seja na forma de obras que incorporam
o observador - resulta
numa ida em direção à experiência sensível vivida pelo
espectador, que é
transformado em um visitante/participante. Apesar de
estarem inseridos em
preocupações de seu momento histórico, esses trabalhos
apontam para uma
pesquisa estética que continua ainda hoje. Ao oferecerem,
por meio de uma série
de iniciativas exploratórias, os termos para uma
experiência escultural, as obras de
Morris impulsionam uma reflexão sobre as opções da
escultura e de sua
percepção. São obras cuja compreensão exige o tempo, o
espaço e o corpo como
condição da experiência estética.<br>In its refusal of the idea of an artistic production based
on linearity, the work
of Robert Morris in the years 1960s-1970s cannot be
designated as minimalist art,
process art or site-specific, although his writings and
pieces were essential for
critics and art historians to define and/or to create the
definitions themselves. The
mobility which the artist adopts - both in his performance
pieces and his process
pieces - leads viewers into a sensible space/time
experience turning them into
participants/visitors. Although the works of Robert Morris
point to the concerns of
its historical background, they also foresee an aesthetic
research that has
continued to this day. By offering a series of exploration
initiatives, they compel a
reflection about the options of sculpture and about its
perception. They are works
that entail time, space, and the body as conditions of an
aesthetic experience.
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Baxter, Lisa Mary. "History, identity and meaning : Cape Town's Coon Carnival in the 1960s and 1970s." Master's thesis, University of Cape Town, 1996. http://hdl.handle.net/11427/19684.
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Little has been written about the Coon Carnival since its inception in the late nineteenth century. This thesis helps remedy the general neglect of popular, "Coloured", working class history during the apartheid years. attempts to situate Cape Town's New Year Carnival within the international debate surrounding popular festival and identity. Following a broadly historical line of inquiry, this thesis straddles different disciplines, borrowing from a range of interpretative fields to assess the form and significance of the event during the 1960s and 1970s, a critical period in the Carnival's history. During these years, District Six - the event's symbolic and spiritual home - was declared for "White" residence only under the Group Areas Act. Coloured residents were forcibly removed from this central city suburb to disparate areas on the Cape Flats - the townships surrounding the metropolis. A year later, in 1967, the carnival parade was effectively banned from the city centre's streets; banished to remote and enclosed stadium venues. Thus, in a relatively short space of time the Carnival came under sustained attack. Due to the relative dearth of critical engagement with, or historical commentary on, the Carnival, this thesis relies heavily on oral sources and journalistic, visual and tourist oriented representations. Focussing particularly on the oral testimonies of twenty-four people involved in the event, it explores the notion of continuity and change in the Carnival during this period, through a thorough interrogation of the narratives.
10
Feldman, Paula. "Made to order : American minimal art in the Netherlands, late 1960s to early 1970s." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414492.
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KIM, EUN KYUNG. "PATTERN ANALYSIS ON THE WORKS OF BONNIE CASHIN FROM THE 1960S TO THE 1970S." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021996954.
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Burgon, Ruth Amy. "Pace, rhythm, repetition : walking in art since the 1960s." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25512.
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In recent years, there has been a noticeable rise in the use of walking in artistic practice. Artists explore, map, narrate, draw, follow and procrastinate through the use of pedestrianism. This rise in an artistic output that uses the walking body has coincided with a burgeoning literature in this field; a literature that, I argue, has yet to find its feet, frequently repeating, and so depoliticising, the dominant narrative that casts walking as a strategy of resistance to the high-speed technological demands of late capitalism. Beyond its role as emancipatory gesture, I show, walking is enmeshed in histories of gender, labour, punishment, power and protest; something that a focus on the art of the 1960s and ‘70s can help to uncover. Accordingly, this thesis seeks to place the recent rise of ‘walking art’ in a specific historical context, positing that the uses of walking by artists today find the key to their legitimation in moving image and performance work of the 1960s and ‘70s. Through chapters on the work of the Judson Dance Theater (1962-7) and Trisha Brown (early 1970s), Bruce Nauman’s studio films and videos (1967-9) and Agnes Martin’s only film Gabriel (1976), I argue that these artists used walking not only to deconstruct the mediums out of which they worked (dance, sculpture, painting), but also to negotiate the wider socio-political issues of the era, from protest marching and the moon landings to much more clandestine concerns such as surveillance and controlled viewership. These chapters reveal a walking body as supported by technology, subject to self-discipline, and negotiating a new relationship with the natural world. A final chapter on Janet Cardiff’s audio walks, which she first developed in the late 1990s, makes explicit a feminist problematic, as I ask where the female body resides in a long history of male walkers, and explore the broader question of how we write the history of ‘walking art’. Via Cardiff, I reflect on the place of the 1960s and ‘70s in our historical imagination today, arguing for a more uneasy reading of the art of these decades than we have previously been used to.
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Hui-Bon-Hoa, Alan. "Identity and marginality on the road: American road movies of the 1960s, 1970s and 1990s." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107914.
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This thesis examines two key periods in the American road movie genre with a particular emphasis on formations of identity as they are articulated through themes of marginality,freedom, and rebellion. The first period, what I term the "founding" period of the road moviegenre, includes six films of the 1960s and 1970s: Arthur Penn's Bonnie and Clyde (1967), Dennis Hopper's Easy Rider (1969), Francis Ford Coppola's The Rain People (1969), Monte Hellman's Two-Lane Blacktop (1971), Richard Sarafian's Vanishing Point (1971), and Joseph Strick's Road Movie (1974). The second period of the genre, what I identify as that of the "minority" road movie, occurs largely in the 1990s and includes Ridley Scott's Thelma & Louise (1991), Gregg Araki's The Living End (1992), and Spike Lee's Get on the Bus (1996). Emphasizing the cinematic worlds, narrative trajectories, and identity politics of the road movie, I argue that "founding" road movies, though usually homogeneous in their portrayals of identity, are significant for later minority road movies because they establish points of rebellion that negotiate between dominant and marginal social relations that minority road movies would later revisit. These minority road movies (re)interpret the generic raw material of the past, tapping into a number of subgenres as well as themes of marginality, freedom, and rebellion, in order to introduce new identities to the genre. Important to the many exchanges between the two periods is the interplay of subgenres; as I will discuss, many of these films borrow, critique, and subvert the generic precedents of the past.<br>Cette thèse examine deux périodes clés du genre cinematographique des 'road-movies' américains en se concentrant sur les formations identitaires telles qu'elles sont articulées à travers les thèmes de la marginalité, de la liberté, et de la rébellion. La première période, que je qualifierais de période fondatrice du genre 'road-movie', comprend six films des années 1960 et1970: Bonnie and Clyde d'Arthur Penn (1967), Easy Rider de Dennis Hopper (1969), The Rain People de Francis Ford Coppola (1969), Two-Lane Blacktop de Monte Hellman (1971), Vanishing Point de Richard Sarafian (1971), et Road Movie de Joseph Strick (1974). La deuxième période du genre, que j'identifierais comme celle du 'road-movie' « minoritaire », est produite en grande partie dans les années 1990 et comprend Thelma & Louise de Ridley Scott(1991), The Living End de Gregg Araki (1992), et Get on the Bus de Spike Lee (1996). En soulignant les univers cinématiques, les trajectoires narratives, et les politiques identitaires, je soutiens que les films «fondateurs», souvent homogènes dans leurs représentations identitaires, sont importants pour les « road-movies » minoritaires ultérieurs car ils établissent des points derébellion négociant entre des rapports sociaux de dominants a marginaux, eux-meme plus tard revisités par les films minoritaires. Ces « road-movies » minoritaires réinterpretent les matériaux génériques bruts du passé, mettant en valeur un certain nombre de sous-genres ainsi que les thèmes de la marginalité, la liberté, et la rébellion, afin d'introduire de nouvelles identités au genre. Le jeu des sous-genres est lui-meme important dans les nombreux échanges entre les deux périodes : je débats que plusieurs de ces films empruntent, critiquent et subvertissent les précédents génériques du passé.
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Culler, Jeremy Neal. "Toward a noncommercial technology the development of image-processed video in the 1960s and 1970s /." [Gainesville, Fla.] : University of Florida, 2004. http://purl.fcla.edu/fcla/etd/UFE0003100.
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Kallipoliti, Lydia. "Mission galactic household| The resurgence of cosmological imagination in the architecture of the 1960s and 1970s." Thesis, Princeton University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560318.
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<p>This dissertation traces a resurgent cosmological imagination in the architecture of the 1960s and 1970s. It documents how the exploration of outer space fueled a radical ecological architectural debate that addressed the reinvention of the household and domestic economy, as both a scientific and an ontological project. I am arguing that in the anticipation of a cosmic view and the search for our coordinates in the universe, there was a disciplinary inflation of previous perceptions of habitation, amplifying the household to an interplanetary organism that can capture the immensity of the cosmos and the obscure density of living systems. </p><p> Reflecting the spectacle of a finite “spaceship-earth,” previous concepts of nature’s flawless preservation, as separated from the urban milieu, engendered a novel naturalism of artificial ecology, where the functions and operations of nature were copied as precise analogues in man-made systems. At this time, the space program played a fundamental role in the reformation of the building industry, effectively adopting, rationalizing and simulating nature’s operations in the cautious cycling of provisions. The potential for conversion of all waste materials into useful ones became eminently important, as a means of survival within the enclosed space of the spacecraft. However, NASA’s experiments were not only evoking unearthly fictions; they were a catalyst for re-thinking transformed social and technical relationships as architectural problems, particularly in the domestic sphere. The space program, as a paradigm of reinventing habitation in extreme physiological conditions and instrumentalizing human agency in terms of input and output invoked an ecological sense of inhabiting the world, as seen in houses equipped with digesters, hydroponic systems, composting devices, solar components and wind generators. The projection of humanity to outer space gestated a new type of a recirculatory house, a cybernetic laboratory that can reproduce the ecosystem in its totality in smaller closed systems. </p><p> In light of this lineage, my study explores the critical intersection between ecology, cybernetics and experimentation with materials and building processes. Bringing this discussion to face contemporary debates, it is worthwhile to observe that two major peripheral areas of the architectural discipline—computation and sustainability—that are considered in almost all cases as disjunctive or irrelevant fields stem from equivalent epistemological aspirations and converged at a time when cosmological imagination (and the idea of leaving the earth) was a core disciplinary preoccupation. </p>
16
Field, Andrew Thomas. "How can performance act historiographically? : enacting the New York avant-gardes of 1960s and early 1970s." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3711.
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This thesis is concerned with extending the role that live performance might play in our understanding of the work of the interrelated avant-garde performance communities that emerged in New York in the 1960s and early 1970s. This is a practice-led project that uses my own performance work as the site of its enquiry. In the last decade performance itself has begun to play a significant role in our understanding of and relationship to past performances, in the main through the increasing pervasion of re-enactment as an acknowledged historiographical trope. However, as a consequence of its association with re-enactment, the nature of the historiographical role afforded to performance is still primarily determined by its proximity to the archive and institutionalised modes of performance history. Challenging the primacy of the re-enactment as a means of embodied engagement with past performance, this research project explores how manipulation of my own performance practice might generate new forms of historical knowledge. In particular my focus is on using this practice to develop a new understanding of how the work of this earlier period altered y the experience of the urban landscape for those participating in the work, audience and performers alike. Structured around a rigorous analysis of three specific works from across this earlier period, I conceived a series of spatial ‘blueprints’ that were applied to my practice to create three new performance pieces. Using my own research and practice to renegotiate the relationship between live performance and the archive, I demonstrate the possibility for a new historiographical approach to past performance. This approach emphasises the role of the participants in the performance as generators of an alternative form of historical understanding embedded in ways of operating in the city.
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Lee, Sangdon. "The commune movement during the 1960s and the 1970s in Britain, Denmark and the United States." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/17068/.
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The communal revival that began in the mid-1960s developed into a new mode of activism, ‘communal activism’ or the ‘commune movement’, forming its own politics, lifestyle and ideology. Communal activism spread and flourished until the mid-1970s in many parts of the world. To analyse this global phenomenon, this thesis explores the similarities and differences between the commune movements of Denmark, UK and the US. By examining the motivations for the communal revival, links with 1960s radicalism, communes’ praxis and outward-facing activities, and the crisis within the commune movement and responses to it, this thesis places communal activism within the context of wider social movements for social change. Challenging existing interpretations which have understood the communal revival as an alternative living experiment to the nuclear family, or as a smaller part of the counter-culture, this thesis argues that the commune participants created varied and new experiments for a total revolution against the prevailing social order and its dominant values and institutions, including the patriarchal family and capitalism. Communards embraced autonomy and solidarity based on individual communes’ situations and tended to reject charismatic leadership. Functioning as an independent entity, each commune engaged with their local communities designing various political and cultural projects. They interacted with other social movements groups through collective work for the women’s liberation and environmentalist movement. As a genuine grass root social movement communal activism became an essential part of Left politics bridging the 1960s and 1970s.
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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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Park, Min A. "The Impact of United States' Food Aid on the South Korean Diet in the 1960s-1970s." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1605541608025719.
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Ruhl, Melissa. ""Forward You Must Go": Chemawa Indian Boarding School and Student Activism in the 1960s and 1970s." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11484.
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vii, 122 p. : ill.<br>High school student activism at Chemawa Indian School, a Native American boarding school in Oregon, transformed the curriculum, policies, and student life at Chemawa. Historians have neglected post-WWII boarding school stories, yet both the historical continuities and changes in boarding school life are significant. Using the student newspaper, the <italic>Chemawa American,</italic> I argue that during the 1960s, Chemawa continued to encourage Christianity, relegate heritage to safety zones, and rely on student labor to sustain the school. In the 1970s, Chemawa students, in part influenced by the Indian Student Bill of Rights, brought self-determination to Chemawa. Students organized clubs exploring Navajo, Alaskan, and Northwest Indian cultures and heritages. They were empowered to change rules such as the dress code provision dictating the length of hair. When the federal government threatened to close Chemawa many students fought to keep their school open even in the face of rapidly declining enrollment rates.<br>Committee in charge: Dr. Ellen Herman, Chairperson;
Dr. Jeffery Ostler, Member;
Dr. Brian Klopotek, Member
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Haworth, Rachel Amy. "Authenticity,authority and influence : From the chanson francaise to the canzone d'autore in the 1960s and 1970s." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530832.
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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.
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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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Takiuchi, Haru Mikiko. "Scholarship boys and children's books : working-class writing for children in Britain in the 1960s and 1970s." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/2961.
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This thesis explores how, during the 1960s and 1970s in Britain, writers from the working-class helped significantly reshape British children’s literature through their representations of working-class life and culture. The three writers at the centre of this study – Aidan Chambers, Alan Garner and Robert Westall – were all examples of what Richard Hoggart, in The Uses of Literacy (1957), termed ‘scholarship boys’. By this, Hoggart meant individuals from the working-class who were educated out of their class through grammar school education. The thesis shows that their position as scholarship boys both fed their writing and enabled them to work radically and effectively within the British publishing system as it then existed. Although these writers have attracted considerable critical attention, their novels have rarely been analysed in terms of class, despite the fact that class is often central to their plots and concerns. This thesis, therefore, provides new readings of four novels featuring scholarship boys: Aidan Chambers’ Breaktime and Dance on My Grave, Robert Westall’s Fathom Five, and Alan Garner’s Red Shift. The thesis is split into two parts, and these readings make up Part 1. Part 2 focuses on scholarship boy writers’ activities in changing publishing and reviewing practices associated with the British children’s literature industry. In doing so, it shows how these scholarship boy writers successfully supported a movement to resist the cultural mechanisms which suppressed working-class culture in British children’s literature. The thesis ends by considering the legacies of their efforts and demonstrating, through close readings of Westall’s The Machine-Gunners and Garner’s The Owl Service, that the class context of the time is embedded in the texts in ways that have not previously been recognised. Drawing on the work of Raymond Williams and Pierre Bourdieu, as well as referring more generally to studies of scholarship boys in social sciences and education, this thesis also makes use of personal interviews and archival materials, which together yield significant insights on British children’s literature of the period.
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Ziegelman, Karen 1960. "GENERATIONAL POLITICS AND AMERICAN INDIAN YOUTH MOVEMENTS OF THE 1960S AND 1970S (FISH-INS, WOUNDED KNEE, ALCATRAZ)." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275334.
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Pearson, Lucy. "The Making of Modern Children's Literature : Quality and ideology in British clbildren's publishing of the 1960s and 1970s." Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519408.
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Celik, Ipek Azime. "Spectacular Regimes and Political Drama: A Comparative Study of Greek and Turkish Theatre in the 1960s and 1970s." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391616872.
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Dye, David. "Backwards into the future : an exploration into revisiting , representing and rewriting art of the late 1960s and early 1970s." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/3217/.
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Dzuverovic, Lina. "Pop art tendencies in self-managed socialism : pop reactions and counter-cultural pop in Yugoslavia in 1960s and 1970s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2850/.
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This thesis explores forms of Pop Art on the territory of the former Yugoslavia in the 1960s and 1970s, seeking to identify its local variants. Yugoslavia, a single party state, built on the legacy of the anti-fascist Partisan struggle, principles of solidarity, egalitarianism, self-management and a strong sense of internationalism due to its founding role in the Non-Aligned Movement, was, at the same time, a country immersed in what has been termed 'utopian consumerism'. The thesis examines how Yugoslav artists during this period dealt with the burgeoning consumer society and media boom, kitsch and the Westernization of Yugoslav culture, phenomena which were ideologically at odds with the country’s own socialist principles. Starting from an analysis of the role of the artist in post-war Yugoslav system of self-management, the thesis proposes that Pop in Yugoslavia can be read as a critical site of articulation and negotiation of that role. Yugoslavia’s founding principles, formed as a legacy of the People’s Liberation Struggle (1941 – 1945), were based upon self-management and the introduction of social property, with art being a democratizing force with a central emancipatory role in the building of the new socialist state. But socialist modernism gradually relegated culture to a more illustrative role, as a form of ‘soft power’ for the Socialist Federal Republic of Yugoslavia. The thesis proposes a reading of artists’ diverse engagements with popular culture and materials as varied expressions of resistance to the severing of links with Yugoslavia’s founding principles. My original contribution to knowledge lies in the identification of two strands of Pop in the country–‘Yugoslav Pop Reactions’ and ‘Yugoslav Countercultural Pop’ which each turned to popular culture and cheap everyday materials as an alternative channel through which to respond to socialist modernism. My claim is that the two positions represent two diametrically opposed responses to the disenchantment with socialist modernism and artists’ roles in society – both using the language of Pop Art but representing two different conceptual positions. The thesis is structured around three core questions. Firstly it asks whether it is possible to retrospectively apply the category of Pop Art to artworks which never originally claimed this term. Secondly it examines ways in which Pop tendencies altered the position of Yugoslav female artists, who, marginalised in a heavily male-dominated environment, looked to Pop as an enabling force, allowing new working methods and‘giving licence’ to new types of practices. The third question is concerned with the relationship between power, politics and Pop Art in Yugoslavia, asking to what extent Yugoslav Pop was a form ofpolitical practice, and to what extent is it was a local adaptation of international currents and themes. This thesis is associated with Tate’s multiannual research into ‘global pop’, which culminated in the exhibition ‘The World Goes Pop’ (September 2015 – January 2016, Tate Modern) through a Collaborative Doctoral Award (AHRC). This involved an advisory role in the exhibition research on the territory of the former Yugoslavia, identifying artists and artworks for potential inclusion in the exhibition. The methodology of the thesis was in part shaped by this context, beginning with close studies of artworks, their critical reception, and the study of their context–the sites of production and exhibition in the country at the time. Whilst both local and international literature on Yugoslav art history, global Pop Art as well as Yugoslav material culture and political context has been important, the core research involved oral histories, and visits to artists’ studios, museum collections, depots and archives in search of original artworks. The thesis draws on approximately twenty interviews with artists, curators, art historians and other art workers who were active in 1960s and 1970s, combined with the above-mentioned scholarship.
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McCarthy, Linda Mary Kathleen. "Your God had his chance and he blew it : modernity, tradition and alternative religion in 1960s and 1970s horror." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/63060/.
Full textAbstract:
The period of the mid-1960s through the mid-1970s, falling at a crux between the influences of modernity and postmodernity, was an era undergoing vast paradigmatic shifts. Defined by cultural historians as The Final Phase of Modernism, A Rage against Order, The New Sensibility, an era of Getting Loose, or The Culture of Narcissism, this decade was increasingly fracturing along conservative-liberal fault lines. Presumably, as a result of this socio-political dichotomisation, debates were being forwarded about the need for and efficacy of grand narratives including historical imperatives, familial connectivity, and traditional spiritual affiliation elicited across this cultural spectrum: from orthodox institutions, such as the Catholic Church to more left-wing establishments such as the Civil Rights and Counter Culture movements. Given prevalence of these conundrums, this thesis will explore how these concerns were discussed and disseminated within the United States through the popular media and, more specifically, works of horror. Indeed, at least since the Gothic literary period, and its qualified revival in the New Hollywood Alternative Religion Horror cinema this discursive thread has, arguably, articulated concerns surrounding the legacy and effects of modernity, traditionalism, the supernatural and affiliations of faith overall. In focusing upon American and British/American co-productions such as Rosemary’s Baby, The Omen, and The Wicker Man, their shared concern in addressing spiritual questions will be taken seriously not merely as metaphors but instead as viable contemporaneous debates. This reading thus offers up an alternative to those currently presented by academia wherein religion is regarded as a mere metaphor for restrictive socio-political mechanisms, or as symbols of plenitude and power.
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Malice, Teresa <1989>. "Transnational Imaginations of Socialism. Political Town Twinning between Italy and the German Democratic Republic in the 1960s and 1970s." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8966/1/malice_teresa_tesi.pdf.
Full textAbstract:
This dissertation is conceived as a history of relations between Italy and the German Democratic
Republic (GDR) through town twinning practices between the 1960s and 1970s. At the center of the
study are the bonds which set seven Italian communist-oriented municipalities and local articulations
of labor unions, located in Emilia-Romagna, Tuscany and Piedmont, in contact with their
correspondents in East Germany. Methodologically, my research is grounded on the concept of
translocality and on the adoption of a bottom-up, micro perspective on international relations during
the late Cold War (chapter 1). Through the analysis of archival documents in both Italy and Germany,
diaries, travel reports and also oral testimonies, it has been possible to explore the political meaning
of these twinnings, their organization, strategic dimension and collocation in the national and
international networks (chapters 2 and 3). In particular, their specificities in terms of communist-led
local administrations and their ideal conception have been researched (chapter 4). At this level,
besides defining the actors and protagonists of the twinnings, I have investigated two main aspects.
On the one hand, the concrete repercussions that twinnings had on territorial economies and technical-administrative
realizations, mostly in Italy. Particular attention has been given to local welfare and
social assistance (chapter 5). On the other hand, the sphere of microsociability and grassroots
connections, with a focus on the shared memories of antifascism, war and Resistance, on the
(communist) symbols of the past and the present and their strategic use, on reciprocal perceptions of
the respective daily lives, as well as – through oral interviews – on the memories of the twinning
experiences (chapter 6).
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Alvarez, Romero Ana. "L'empreinte ethnographique dans la littérature mexicaine des années 1950, 1960 et 1970." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30060.
Full textAbstract:
Ce travail analyse les relations de l'ethnographie avec un corpus divers de la littérature mexicaine publiée au cours des années 1950, 1960 et 1970. Ces relations sont examinées par ce que nous appelons «empreinte ethnographique», une frontière sémiotique (dans la terminologie de Yuri Lotman) où les intérêts et les méthodes de l'ethnographie sont traduits en termes littéraires. Grâce à ce concept, nous analysons: Juan Pérez Jolote: biografía de un tzotzil (1948), de Ricardo Pozas; El diosero (1952), de Francisco Rojas González; Benzulul (1959), de Eraclio Zepeda; Balún Canán (1957) et Los convidados de agosto (1964), de Rosario Castellanos; La tumba (1964), de José Agustín; Gazapo (1965), de Gustavo Sainz; Los hongos alucinantes (1964), de Fernando Benítez; Los albañiles (1963), de Vicente Leñero; Hasta no verte Jesús mío (1969) et La noche de Tlatelolco (1971), d’ Elena Poniatowska; Chin chin el teporocho (1971), d’Armando Ramírez; et Vida de María Sabina. La sabia de los hongos (1977), d’Álvaro Estrada. L'interconnexion est présentée par le travail littéraire axé sur la reconstruction des sujets inscrits et configurés par leur culture: si d'abord dans la littérature mexicaine l'accent était mis sur l'indigène, ultérieurement cette littérature essai d'expliquer la culture de l'habitant urbain. De cette façon, l’empreinte ethnographique dévoile comment un corpus apparemment divers est interconnecté. De même, nous proposons que cette empreinte ethnographique soit construite par ce qu'on appelle le «réalisme culturel»: un style d’écriture qui tente de rendre compte de cultures spécifiques selon le point de vue de ses acteurs<br>This study analyzes ethnography’s relationship with a diverse corpus of Mexican literature published during the decades of 1950, 1960 and 1970. These relationships are analyzed through what we call “ethnographic imprint”, a semiotic frontier (in Yuri Lotman’s terminology) where ethnography’s interests and methods are translated into literary terms. Through this concept, we analyze Juan Pérez Jolote: biografía de un tzotzil (1948), by Ricardo Pozas; El diosero (1952), by Francisco Rojas González; Benzulul (1959), by Eraclio Zepeda; Balún Canán (1957) and Los convidados de agosto (1964), by Rosario Castellanos; La tumba (1964), by José Agustín; Gazapo (1965), by Gustavo Sainz; Los hongos alucinantes (1964), by Fernando Benítez; Los albañiles (1963), by Vicente Leñero; Hasta no verte Jesús mío (1969) and La noche de Tlatelolco (1971), by Elena Poniatowska; Chin chin el teporocho (1971), by Armando Ramírez; and Vida de María Sabina. La sabia de los hongos (1977), by Álvaro Estrada. The interconnection appears through literary work focused on rebuilding subjects framed and shaped by their culture: if the original focus was the native, in the later period the subject explained according to its culture was the urban dweller. Thus, the ethnographic imprint reveals how an apparently diverse corpus is interconnected. Similarly, we propose that this ethnographic imprint is constructed through what we call “cultural realism”: a writing style that tries to account specific cultures (with correspondence in the extratextual world) from the actors’ point of view
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Breen, Edward George. "The performance practice of David Munrow and the early music consort of London : medieval music in the 1960s and 1970s." Thesis, King's College London (University of London), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646010.
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Breen, Edward George. "The performance practice of David Munrow and the early music consort of London : medieval music in the 1960s and 1970s." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/the-performance-practice-of-david-munrow-and-the-early-music-consort-of-london(6153a225-144d-4664-96c4-125cd150f535).html.
Full textAbstract:
This thesis focuses on the musical contribution of David Munrow and his Early Music Consort of London (EMC) to the so-called early music revival of the 1960s and 1970s. By exploring the notion of shared cultural space in performances of medieval music by leading ensembles of the time, this thesis seeks to isolate aspects of performance practice unique to the EMC. An assessment of literary sources documenting the early music revival reveals clear nodes of discussion around Munrow’s methods of presenting early music in concert performance which are frequently classified as ‘showmanship’ with a focus on more scholarly performance practice decisions only evident in the post-Munrow period. Close readings of these sources are undertaken which are, in turn, weighed against Munrow’s early biography to map out the web of influences contributing to his musical life. Having established David Munrow’s intentions in performance, this thesis uses techniques of performance analysis to question whether he and the EMC achieved such stated aims in performance, and identifies how different approaches are made manifest in recordings by other ensembles. The findings, which seek to marry sonic analysis with reception history, are interpreted in the light of the New Cultural History of Music and reposition David Munrow, often seen as a showman who evangelized early music, as a musician who profoundly influenced the modern aesthetics and surface details of performance for subsequent generations of early musicians.
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Khan, Tanya Sabena. "A part of and apart from the mosaic: a study of Pakistani Canadian experiences in Toronto during the 1960s and 1970s." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114157.
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This thesis examines the experiences of the first wave of Pakistani immigrants to arrive in Canada after the immigration reforms of the 1960s and 1970s. It focuses largely on the Pakistani community in Toronto. Its primary thesis is that while the immigration reforms and accompanying national policy of multiculturalism of this era were intended to foster democratic, humanitarian, and egalitarian principles, Pakistanis, like other immigrants of colour, actually saw their efforts to join the social and economic mainstream thwarted by discrimination both at the hands of government officials and within Canadian society. The thesis makes extensive use of a wide range of primary materials, including government documents, municipal records, commissioned reports, symposia proceedings, mainstream and Pako-Canadian newspapers, community newsletters, and interviews. Individual chapters examine: the background, social characteristics, and immigration and settlement experiences of Pakistani immigrants to Canada and Toronto during the 1960s and 1970s; the establishment and administration of immigration reforms and multiculturalism policies during these decades, with an emphasis on the ways that discriminatory government policies and traditions toward Pakistanis and other immigrants of colour carried over and continued to impact the era of progressive reform; the growth of intense anti-immigrant attitudes and the rise of "Paki-bashing" and other episodes steeped in discrimination and violence in Toronto during the 1970s; prejudice and other challenges faced by Pako-Canadians as they attempted to make a living within Toronto's economy; and issues of gender and the experiences of Pako-Canadian women in Toronto during the 1960s and 1970s.<br>La présente thèse traite du vécu de la première vague d'immigrants pakistanais au Canada, soit celle qui est postérieure aux réformes du système d'immigration canadien des années 1960 et 1970. Elle est principalement focalisée sur la communauté pakistanaise de Toronto. Cette thèse soutient essentiellement l'hypothèse suivante : en dépit du fait que les réformes du système d'immigration, ainsi que celles apportées aux politiques nationales afférentes sur le multiculturalisme, bien qu'elles étaient destinées à étayer des principes démocratiques, humanitaires et égalitaires, les pakistanais, à l'instar d'autres immigrants de couleur, ont vu leurs efforts destinés à s'intégrer à la classe moyenne canadienne contrecarrés par des pratiques discriminatoires émanant tant de la part des fonctionnaires du gouvernement que de celle de la société canadienne elle-même. Cette thèse s'appuie sur un vaste éventail documentaire issu de sources primaires, comprenant des documents gouvernementaux, des dossiers municipaux, des rapports produits par des commissions, des comptes rendus de symposiums, des articles de journaux torontois à grand tirage, des bulletins communautaires de pakistano-canadiens et des interviews. Les divers chapitres qui la composent ont pour objet de scruter les thèmes suivants: les antécédents, les caractéristiques sociales ainsi que le processus d'immigration et l'établissement d'immigrants pakistanais au Canada, tout particulièrement à Toronto, durant les décennies 1960 et 1970; la mise en œuvre et l'administration des réformes de l'immigration et des politiques afférentes au multiculturalisme à cette époque, en mettant l'accent sur les manières dont les politiques gouvernementales discriminatoires envers les pakistanais et les autres immigrants de couleur se sont perpétuées et ont continué d'avoir un impact significatif sur l'immigration et ce, même pendant l'ère des réformes dites progressistes; l'intensification d'attitudes négatives envers les immigrants et la montée d'un ressentiment anti-pakistanais, couplées à d'autres évènements qui profilèrent l'entrée en scène de la discrimination et de la violence à Toronto pendant les années 1970; la discrimination et les autres défis auxquels étaient confrontés les pakistano-canadiens alors qu'ils tentaient de gagner leur vie au coeur de l'économie torontoise de l'époque; les problématiques particulières reliées à leur sexe et les expériences de vie des femmes pakistano-canadiennes de Toronto au cours des années 1960 et 1970.
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Abejo, Socorro D. "Effects of community factors on infant and child mortality in rural Philippines." Thesis, Canberra, ACT : The Australian National University, 1987. http://hdl.handle.net/1885/117359.
Full textAbstract:
The post World War II period saw a general downward
trend in mortality throughout Asia and Latin America
(Arriaga, 1981; Sivamurthy, 1981; Ruzicka and Hansluwka,
1982 ). In some of the countries of Asia, the decline was
unprecedentedly fast during the immediate post World War II
years (Sivamurthy, 1981). Similarly, in most countries of
Latin America, a substantial increase in life expectancy at
birth was noted in the 1950s (Arriaga, 1981). However, in
the late 1960s and during the 1970s, a slowing down of the
rate of mortality decline was observed in many of the less
developed countries. In some countries, the deceleration
occurred when the levels of life expectancy attained were
still below the maximum levels achieved by some developed
societies (United Nations, 1973; Arriaga, 1981; Ruzicka and
Hansluwka, 1982). The growing evidence of a stagnation of
mortality decline at low levels of life expectancy in less
developed countries over the past decade or so has prompted
national and international groups to critically assess the
social and economic policies affecting health in these
countries (United Nations, 1984).
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Hinchliffe, Ian. "The documentary novel : fact, fiction or fraud? : an examination of three Scandinavian examples of the documentary novel from the 1960s and 1970s." Thesis, University of Hull, 1989. http://hydra.hull.ac.uk/resources/hull:8034.
Full textAbstract:
This study seeks primarily to examine three Scandinavian examples of the documentary novel. Initially I endeavour to isolate certain purported characteristics of the genre as a whole by considering which aspects of a narrative have prompted the critics to call it a 'documentary novel'. I then examine the three works in detail, applying standard techniques of literary criticism and comparing the facts on which the novels are based with the novels themselves to determine what makes them 'documentary' and what makes them 'novels'. The three novels share common techniques and all deal with the subject of Scandinavian polar exploration, but the author's relationship and attitude to the facts he has at hand are sufficiently different in each instance to permit a discussion of the literary form, ambitions and potential of the 'documentary novel'. The evidence suggests that the documentary novel uses authentic historical material but presents it through the techniques and forms of creative literature: the novelists adapt documented facts to support a view of a history which typically differs from accepted tradition. I then show that the conclusions to which this unorthodox view points, however, are invariably the same as those the authors draw about life in their other, non-documentary fictional works. Finally I demonstrate how the documentary novel is a fluid form which can be used in the service of fact, fiction or fraudulent propaganda, and I suggest a definition that embraces the three novels examined and the three kinds of documentary fiction that they represent.
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Bugow, Karin [Verfasser], Corinna [Akademischer Betreuer] Unger, Marc [Gutachter] Frey, and Jonathan [Gutachter] Harwood. "The Role of Multinational Corporations in the Green Revolution, 1960s and 1970s / Karin Bugow ; Gutachter: Marc Frey, Jonathan Harwood ; Betreuer: Corinna Unger." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2021. http://d-nb.info/123013672X/34.
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Becerra, Flor Marina. "A Study of the adult learning experiences of Peruvian single women who migrated to Australia in the late 1960s and early 1970s." Thesis, Australian Catholic University, 2000. https://acuresearchbank.acu.edu.au/download/d2d02e9392929bc796197b29302e37cb3b2befee0fa1934a7e9df3bd72da2a81/7486016/Becerra_2000_a_study_of_the_adult_learning.pdf.
Full textAbstract:
This thesis constitutes a study of the migration, settlement and adult learning experiences of single Peruvian women who migrated to Australia between the 1960s and 1970s. As relevant background, matters related to the migration of women to Australia generally throughout this country's modern history are also examined. This study aims to contribute to the knowledge of history and the knowledge of adult education. The specific goal is to highlight the migration and settlement learning experiences of single Peruvian women as well as exploring aspects of the adult learning strategies that they have put in place in the course of their new life structure in Australia. The participants' decisions to migrate cannot be seen in isolation but rather as resulting from all or some of their life experiences leading to that decision and their own places in society. Accordingly this research recognises the importance of analysing the participants' narratives of their lives prior to that point and the period since and by so doing, acknowledge the basis of many of the decisions of early adulthood which set each of them on the path to change and learning. The stories of six Peruvian women, who migrated to Australia in the specified period, are presented using in-depth interviews in an unstructured format. Analysed from a feminist theory perspective, their narratives are examined as discursive productions which provide valuable insights into the social order of society and how each person found meaning within the discourses available to them. Additionally interviews were conducted with a number of immigration officers in Australia. Being centred upon the experiences of the women the thesis has been influenced by the ideas of several writers and thinkers on the subject including (but not limited to) John Dewey a 20th century adult education philosopher and his concept of 'lifelong learning', Jack Mezirow and his work on learning as 'transformative and emancipatory' and Jurgen Habermas' 'categories of enquiry'.
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Fink, Lawrence E. "The American Playwright Theatre: creating a partnership between commercial and educational theatre as an alternative to Broadway in the 1960s and 1970s." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1387446799.
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Fink, Lawrence E. "The American playwrights theatre : creating a partnership between commercial and educational theatre as an alternative to Broadway in the 1960s and 1970s /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843314695908.
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Taylor, Douglas Edward. "Hustlers, nationalists, and revolutionaries : African American prison narratives of the 1960s and 1970s (Malcolm X, Eldridge Cleaver, George Jackson, Huey P. Newton)." Ann Arbor, Mich. : ProQuest Information and Learning, 2005. http://gateway.proquest.com/openurl?res_dat=xri:ssbe&url_ver=Z39.88-2004&rft_dat=xri:ssbe:ft:keyresource:Wall_Diss_02.
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Dawley, Martina Michelle. "Indian Boarding School Tattoos among Female American Indian Students (1960s -1970s): Phoenix Indian School, Santa Rosa Boarding School, Fort Wingate Boarding School." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/193389.
Full textAbstract:
Tattooing in the federal Indian boarding school system appears to have been common among the student body, but the practice is not well documented. A search of the literature on Native education, focusing on boarding schools, yielded only fragments of references to tattooing because there has been no substantive or detailed research on Indian boarding school tattoos. One brief narrative from Celia Haig-Brown (1988), however, illustrates the commonality and the dangers of tattooing. This study examines tattoos among female students who attended Indian boarding schools in the Southwest during the 1960s-1970s. The personal accounts of my mother's experience in tattooing at the Phoenix Indian School provide a baseline for this study. My study explores an undocumented area of boarding school history and student experiences. Many students from various tribes tattooed. The tattoos most often included small initials and markings, and my analysis concludes that the meanings were mostly related to resistance.
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Stewart, Beth. "Gender and the difficulty of decolonizing development in Africa in the late 1960s and early 1970s : a Canadian effort for partnership among women." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1555.
Full textAbstract:
In the 1960s, Irene Spry served as the Federated Women's Institutes of Canada (FWIC) representative to the Associated Country Women of the World (ACWW). In 1967 she accepted an offer to be the ACWW deputy president, a post that she held until the mid-1970s. During this time, the ACWW and its member societies engaged in international development efforts around the world. This was a critical moment in the history of international development. The Canadian movement for development was propelled by domestic and global politics, as well as a changing society that embraced a sense of global citizenship. Arising out of this context and armoured with her own socialist politics, Spry carefully navigated the development efforts of the ACWW. These efforts straddled grassroots ideals and mainstream pressures from the United Nations (UN). As a women's Non-Governmental Organization (NGO), the ACWW was part of the initial force behind the global shift in the approach to development referred to as Women in Development (WID).
Contemporary research, however, suggests that WID has not succeeded in addressing the concerns of women in "developing" countries. As a case study, this paper examines some of the historical roots of WID and identifies the historical continuities that persist in today's development discourse. Analyzing Spry's documents from the Library and Archives Canada through the lens of feminist postcolonial theory reveals the dominance of Eurocentric ideologies within the development practices of the ACWW. The impetus to reach out to help people in developing countries became socially and politically part of the Canadian identity and, as Spry's navigation through the discourses of the international agencies and ACWW members reveal, such sentiments of international benevolence were inherently neo-colonial. In much the same way that Himani Bannerji suggests that subjects are "invented," women involved in this movement intersected discourses of modernity and "race" with essentializing notions of gender, which contributed to a standardized practice of development. This case study ultimately demonstrates that good intentions were not enough to decolonize western women's efforts to "develop" parts of Africa in the late 1960s and early 1970s.
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Kröss, Verena [Verfasser], Corinna [Akademischer Betreuer] Unger, Marc [Gutachter] Frey, and Forclaz Amalia [Gutachter] Ribi. "The World Bank and Agricultural and Rural Development in the 1960s and 1970s / Verena Kröss ; Gutachter: Marc Frey, Amalia Ribi Forclaz ; Betreuer: Corinna Unger." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2021. http://d-nb.info/1230136800/34.
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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.
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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Statzer, Mary Kathryn. ""Photography into Sculpture": Peter Bunnell, Robert Heinecken and Experimental Forms of Photography Circa 1970." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/556851.
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Despite present day attitudes and practices in which combinations of photography and other mediums of art are readily accepted, this was rarely the case during the 1960s and 1970s. The pioneering 1970 Museum of Modern Art exhibition Photography into Sculpture, which is the focus of this dissertation, is a compelling exception. Organized by Peter Bunnell, the exhibition highlighted work by twenty-three artists that mixed photographic imagery with three-dimensional forms. The resulting objects often dislocated "straight" photography’s reliance on the image and optical description as its primary source of meaning, characteristics presumed to be fundamental and fixed by many at the time. Bunnell argued that the physicality of the works in Photography into Sculpture made the medium visible and available for critique. This dissertation establishes the archival record and an oral history for the exhibition. It also finds that Bunnell prepared this unorthodox exhibition with John Szarkowski’s endorsement, therefore contradicting enduring views that Szarkowski’s photography program at the Modern promoted a monolithic ideology that did not include experimental modes. Peter Bunnell and Robert Heinecken are the principal figures in Photography into Sculpture. Bunnell, as curator and historian, and Heinecken, as artist and professor of photography at University of California, Los Angeles, were both committed to the idea that the photograph was not only an image but also an object. In public statements they argued that the attention placed on straight photography by many critics and educators discouraged experimentation and excluded an emerging generation of photographers eager to challenge lingering modernist traditions that emphasized the integrity of the image and conventions of display. Both men and their contemporary Nathan Lyons worked from within photography’s established institutions and organizations–including the Museum of Modern Art, George Eastman House, and The Society for Photographic Education–to advocate for alternatives. This dissertation demonstrates that the revolutionary ideas of Bunnell and Heinecken were part of a long rebellion against photographic modernism.
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Kaffash, Mohammed Ashrafian. "The relationship between rural settlement pattern, water supply and land use in the Khorasan district of Iran between the mid 1960s and the mid 1970s." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/7079/.
Full textAbstract:
This thesis examines the relationship between settlement patterns, water supply and land use in the Khorasan Province of Iran. In particulars the work concentrates on the period between 1966 and 1976 as most of the original material has been derived from the censuses of those years and also from the associated village gazetteers. Considerable time has been expended translating the raw data into complex settlement maps and these form a key link throughout the text. The thesis begins by considering traditional settlement location theories and introduces some discussion as to their appropriateness far Iran. After some methodological considerations, the main body of the work begins in Chapter 3 with some discussion of the impact of physical factors on settlement location. This is followed by two key chapters which take the physical theme further with a detailed consideration of the relationship between settlement locations and the dynamics of water supply. Chapter 6 returns to the theme of settlement patterns with further consideration of spatial arrangement and settlement densities. The next three chapters examine the human aspects of settlement dynamics more fully with discussion of the impacts of land reform, agricultural land use and population trends respectively. The final chapter concludes the thesis and tries to reconsider the validity of some of the theoretical comments of Chapter 1.The general conclusion demonstrates that since the 1960s there has been a movement towards some degree of potential settlement order and a number of explanations for this are put forward.
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Dumont, Camil. "Looking to Vancouver's elders : the 1960s and 1970s food counterculture story and how it informs the contemporary incarnation of Vancouver's food sustainability movement: an interdisciplinary qualitative study." Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/60158.
Full textAbstract:
This interdisciplinary research is grounded in the Land and Foods Systems Faculty. It combines the Disciplines of Food Systems Research with that of History to investigate the intersection of the 1960s and 1970s Vancouver counterculture movement with food activism. This qualitative research is based on the belief that we must understand history to plan the future. The dominant food system is unsustainable. Thus, sustainability research is imperative regarding that steps that must be taken to move our dominant food system to one that does not compromise the long-term survival of our species or countless others. This research is a modified oral history of Vancouver’s 1960s and 1970s food counterculture movement. It contributes to the explanation of the events in Vancouver food activism in the 1960s and 1970s and communicates the advice, perspectives and experiences of activists from that time with respect to Vancouver’s food sustainability challenges today. This research specifically asks elders in Vancouver’s food activist community to help guide a current and new generation of food activists in that same city.<br>Land and Food Systems, Faculty of<br>Graduate
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Almeida, Juliana Gisi Martins de. "Fotografia e práticas artísticas : os discursos dos artistas nos anos 1960 e 1970." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/72686.
Full textAbstract:
Este trabalho apresenta uma investigação sobre a fotografia produzida por artistas nos anos 1960 e 1970, a partir de uma análise discursiva dos textos que os próprios artistas escreveram na época. Proponho que a especificidade da concepção de fotografia dos anos 1960 e 1970 é resultado de um processo complexo: habitando uma exterioridade selvagem da disciplina das artes visuais naquele momento, a fotografia é escolhida por artistas como uma estratégia importante em uma disputa discursiva pelas definições de arte que resulta na sua formação como objeto para a disciplina das artes visuais. Esta investigação se desdobra em três capítulos: As Fontes de Pesquisa; A Fotografia-Qualquer; Fotografia e Práticas Artísticas – os Discursos dos Artistas nos Anos 1960 e 1970. No primeiro capítulo desenvolvo uma discussão sobre o texto de artista e sua relevância para a compreensão da arte produzida nas décadas de 1960 e 1970, pela análise comparativa de quatro livros que reúnem textos de artistas da época, com o intuito de explicitar o modo como estes escritos são incluídos no campo teórico das artes visuais, pela sua republicação, que se coloca como uma reapresentação (com um consequente deslocamento de seus contextos originais, edição e, muitas vezes, recortes), o que interfere em sua existência e significado para o conhecimento artístico. Nos capítulos 2 e 3, apresento o resultado de uma investigação que teve como objetivo extrair dos discursos dos artistas, datados dos anos 1960 e 1970, qual o papel que a fotografia desempenhava em suas práticas artísticas no contexto maior da arte daquele período. Persigo a ideia da fotografia como um dispositivo de despersonalização do artista como gênio criador, como figura especial que produz objetos especiais e, portanto, distingue-se das outras pessoas. Esta qualidade da fotografia-qualquer é enfatizada em textos de artistas dos referidos anos em uma celebração da possibilidade da anti-arte que resultava da utilização da fotografia como medium, na apropriação do que havia de menos especial em termos de técnica e material para a produção de imagens e se contrapunha à arte que eles chamavam de tradicional ou convencional. Ainda centralizo minha atenção, nos textos dos artistas, no modo como eles abordam seus trabalhos, a fim de destilar daí três papéis que a fotografia pode desempenhar em suas práticas artísticas: a fotografia como documento; a fotografia integrada à prática artística; a fotografia como trabalho de arte. Enquanto tendências extraídas dos modos de apropriação da fotografia como medium para a produção, esses agrupamentos têm a função de organizar, por semelhança e diferença, as abordagens discursivas dos artistas sobre suas práticas, a partir de como eles elaboraram seu fazer e determinaram o lócus de seu trabalho – em outras palavras, o que, para cada um deles, constitui o trabalho de arte propriamente dito em meio aos vários elementos que compõem sua prática artística. A fotografia na arte existe em virtude do discurso – tanto visual quanto textual – que a toma como objeto, e, neste sentido, estava sendo inventada para aquele momento, nos escritos e trabalhos dos artistas. A presença da fotografia na prática artística das décadas de 1960 e 1970, abordada a partir dos discursos dos artistas, revelou-se como um processo complexo de estabelecimento da fotografia como um objeto para o saber artístico, do qual se pode falar e para o qual se forma um vocabulário específico, possibilitando que ela se coloque como mais um medium para a produção artística, entre outros e em relação a eles.<br>This thesis presents an investigation into the photography produced by artists in the 1960s and 1970s, based on a discursive analysis of texts that the artists themselves wrote at the time. I propose that the specificity of the conception of photography from the 1960s and 1970s is the outcome of a complex process: inhabiting a wild exteriority of the visual arts discipline at that moment, photography is chosen by artists as an important strategy in a discursive dispute for definitions of art which results in its constitution as an object to the visual arts discipline. This investigation unfolds in three chapters: Sources of Research; The Photography-Whatever; Photography and Artistic Practices – Discourses of Artists in the Years 1960 and 1970. In the first chapter I carry out a discussion on the artist’s text and its relevance for understanding the art produced in the 1960s and 1970s, by means of a comparative analysis of four books that gather texts of artists of the time, in order to clarify how these writings are included in the theoretical field of visual arts, through their republication, which arises as a re-presentation (with a consequent displacement from their original contexts, editing, and often cuts), and so interferes with their existence and meaning for the artistic knowledge. In chapters 2 and 3, I present the result of a research that seeks to extract, from speeches of artists dating from the 1960s and 1970s, the role played by photography in their artistic practices in the larger context of art of that period. I pursue the idea of photography as a device of depersonalization of the artist as creative genius, as a special character who produces special objects and therefore distinguishes himself from other people. Such quality of the photography-whatever is stressed in texts of artists from those years in a celebration of the possibility of anti-art that resulted from the usage of photography as a medium, through an appropriation of the least special techniques and materials available at that time for the production of pictures and was opposed to the art that they called traditional or conventional. I also focus my attention, in the artists’ texts, in how they approach their own work, in order to withdraw three roles that photography can play in their artistic practices: the photograph as a document; the photograph integrated into the artistic practice; the photograph as an art work. While trends drawn from the ways of appropriation of photography as a medium for production, these groups have the task of organizing, by similarity and difference, the discursive approaches of the artists about their practices, based on how they developed their doing and determined the locus of their work – in other words, that which, for each of them, constitutes the work of art itself among the various elements that comprise his artistic practice. Photography in the arts exists by virtue of the discourse – both visual and textual – that takes it as an object, and in this sense it was being invented for that time, in the writings and works of the artists. The presence of photography in the artistic practice in the 1960s and 1970s, approached by means of a research into the discourses of artists, has shown itself as a complex establishment process of photography as an object to the artistic knowledge, an object of which one can speak and for which a specific vocabulary is formed, enabling it to place itself as a new medium among others (and in relation to them) for artistic production.
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McGilchrist, Mary Megan Riley. "Across a great divide : views of landscape and nature in the American West, before and after the cultural watershed of the 1960s and 1970s : Wallace Stegner and Cormac McCarthy." Thesis, University of Derby, 2008. http://hdl.handle.net/10545/208797.
Full textAbstract:
In this thesis my aim has been to establish a link between the western American writers, Wallace Stegner and Cormac McCarthy. My point of connection has been the treatment of landscape and nature in the works of both authors, and I have argued that their works exemplify perspectives which are related to their authors' historical positions before and after the cultural watershed of the Vietnam era. Although their works are dissimilar in many ways, both writers have similar concerns with regard to the western American landscape, and the social, political, and human ramifications of , the myth of the frontier, and crucially, its effect on the natural world. I argue that Stegner and McCarthy provide a link between the thinking of their respective eras· which reveals changes related to the loss of faith in the culturally accepted archetypes upon which much American thought was based prior to the upheavals ofthe era ofthe Vietnam War, the 1960s and early 1970s. I believe that despite what might appear to be contradictory narratives about the'West and the western landscape, the subtext in both authors is a deep questioning of widely accepted western mythic imagery and its continuing effect on American life and ideology. While western mythology has been examined before, it has IJpt been discussed in relation to these two authors seen as a pairing exemplifying a movement from the more traditional realist narratives written prior to the Vietnam era, and the darker, more pessimistic narratives of the post-Vietnam era, in which a loss of faith in many previously accepted cultural givens became common. It might therefore seem appropriate to describe Stegner and McCarthy as modernist and postmodern, but I believe those terms simplify, obscure, and in a very real sense misname the complex sets of issues and· traditions with which both authors deal from their vantage points on either side ofthe divide which had as its defining moment the Vietnam War. I also discuss the issue of the feminine in western landscape in the works of both authors. Again, Stegner and McCarthy reveal a change in American thinking, not necessarily entirely positive, which has as its fulcrum the 1960s and '70s, and included such culturally momentous events as the civil rights movement, the women's movement, a new, politicized environmentalism, and various other progressive movements. The western American landscape has always had great significance in American thinking, requiring an unlikely uniori between frontier mythology and the reality of a fragile western environment. Both Stegner and McCarthy focus on this landscape and environment; its spiritual, narrative, symbolic, imaginative, and ideological force is central to their work. My goal has been to show how their various treatments ofthese issues relate to the social climates in which they were written, and how despite historical discontinuities, both Stegner and McCarthy reveal a similar unease about the effects of the myth ofthe frontier on American thought and life.