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In Artifacts of Loss, Jane E. Dusselier looks at the lives of Japanese American internees through the lens of their art.Dusselier urges her readers to consider these often overlooked folk crafts as meaningful political statements which are significant as material forms of protest and as representations of loss.
The world's biggest refugee crisis since the Second World War is bringing tens of thousands of migrants to Central Europe - former citizens of Syria, Afghanistan, Sudan or Somalia fleeing from war, dictatorship or religious extremism. The fact that most of the refugees are Muslims stirs new debate over the future of European society. From (formerly atheist) leaders calling to the defense of European Christianity to economists pointing to the necessity of migrants as part of the future workforce, Europe is in the process of renegotiating its cultural identity. Earlier in 2015, the terrorist attack on the Charlie Hebdo office in Paris caused intense moments of rupture on the one hand and solidarity on the other. While religious and political leaders and European citizens of all backgrounds stood together against jihadist terrorism and anti-Semitism, extremist movements like Pegida in Germany and Front National in France mobilized followers with messages directed against all Muslims. According to Nilüfer Göle, the Charlie Hebdo attacks could prove to be a turning point in the relationship between European Islam and Western Modernity.
As the Soviet Union's foremost composer, Shostakovich's status in the West has always been problematic. Regarded by some as a collaborator, and by others as a symbol of moral resistance, both he and his music met with approval and condemnation in equal measure. The demise of the Communist state has, if anything, been accompanied by a bolstering of his reputation, but critical engagement with his multi-faceted achievements has been patchy.
"Consequences of Denial" seeks to provide some awareness and understanding of the horrendous tragedy of the Armenian genocide. This book illuminates the little known fact that over two million innocent Armenians died at the hands of the Ottoman Empire between 1894 and 1922; a genocide that has been, and continues to be, denied by successive Turkish governments. In this book, the author demonstrates the need not only for remembrance, but first and foremost for the acknowledgement of genocides, from government level downwards. Only by taking adequate steps at personal, group, national and international levels to acknowledge such massacres, and the trauma they create, can humankind attempt to prevent such atrocities from ever happening again. By documenting the psychological effects of the forgotten Armenian genocide and by linking these effects to crossgenerational trauma and processes of response and denial, this book aims to shed light from a psychoanalytic perspective on an insufficiently researched aspect of this genocide.
Cultural Diplomacy and the Heritage of Empire analyzes the history of the negotiations that led to the atypical return of colonial-era cultural property from the Netherlands to Indonesia in the 1970s. By doing so, the book shows that competing visions of post-colonial redress were contested throughout the era of post-World War II decolonization.
Considering the danger this precedent posed to other countries, the book looks beyond the Dutch-Indonesian case to the "Elgin (Parthenon) Marbles" and "Benin Bronzes" controversies, as well as recent developments relating to returns in France and the Netherlands.
Experiencing the resonant acoustics of the church of Hagia Sophia allowed the Byzantine participants in its liturgical rituals to be filled with the Spirit of God, and even to become his image on earth. Bissera Pentcheva's vibrant analysis examines how these sung rites combined with the church's architectural space to make Hagia Sophia a performative place of worship representative of Byzantine religious culture in all its sensory richness. Coupling digital acoustic models and video with a close examination of liturgical texts and melodic structures, Pentcheva applies art-historical, philosophical, archeoacoustical, and anthropological methodologies to provide insight into the complementary ways liturgy and location worked to animate worshippers in Byzantium. Rather than focus on the architectural form of the building, the technology of its construction, or the political ideology of its decoration, Pentcheva delves into the performativity of Hagia Sophia and explains how the "icons of sound" created by the sung liturgy and architectural reverberation formed an aural experience that led to mystical transcendence for worshippers, opening access to the imagined celestial sound of the angelic choirs.
In 1893 Friedrich Engels branded history "the cruelest goddess of all." This sorrowful vision of the past is deeply rooted in the Western imagination, and history is thus presented as a joyless playground of inevitability rather than a droll world of possibilities. There are few places this is more evident than in historical cinema which tends to portray the past in a somber manner. Historical Comedy on Screen examines this tendency paying particular attention to the themes most difficult to laugh at and exploring the place where comical and historical storytelling intersect.
Should the British Museum return the Elgin Marbles to Greece? Should settler societies in North America and Australasia compensate the aboriginal peoples whom they dispossessed? Should Israel have accepted Germany's compensation for Nazi extermination policies? The last twenty years have seen a remarkable surge of political and ethical interest in historical redress - that is, the righting of old wrongs.
For the past two centuries and more, the West has acquired the treasures of antiquity to fill its museums, so that visitors to the British Museum in London, the Louvre in Paris, and the Metropolitan in New York - to name but a few - can wonder at the ingenuity of humanity throughout the ages.But all this came at a huge cost. From the Napoleonic campaigns that filled the Louvre with Egyptian artefacts, to the plunder that accompanied British imperialism across the globe, the amazing collections in the West's great museums were wrenched from their original context by means that oftenamounted to theft.Now the countries from which they came would like them back. The Greek demand for the return of the Elgin Marbles is only the tip of an iceberg that includes a host of world-historical artefacts, from the Benin Bronzes to the Bust of Nefertiti. In the opinion of many people, many of these items arelooted property - and should be returned immediately.In Keeping Their Marbles, Tiffany Jenkins tells the intriguing and sometimes bloody story of how the West came to acquire these treasures over the centuries. She controversially argues that they should remain where they are - in the museums of the West - and should not now be returned to the landsfrom which they came.
Music was integral to the profound cultural, social and political changes that swept the globe in 1968. This collection of essays offers new perspectives on the role that music played in the events of that year, which included protests against the ongoing Vietnam War, the May riots in France and the assassination of Martin Luther King, Jr. From underground folk music in Japan to antiauthoritarian music in Scandinavia and Germany, Music and Protest in 1968 explores music's key role as a means of socio-political dissent not just in the US and the UK but in Asia, North and South America, Europe and Africa.
This volume is a comprehensive and detailed survey of music and musical life of the entire Soviet era, from 1917 to 1991, which takes into account the extensive body of scholarly literature in Russian and other major European languages. In this considerably updated and revised edition of his 1998 publication, Hakobian traces the strikingly dramatic development of the music created by outstanding and less well-known, 'modernist' and 'conservative', 'nationalist' and 'cosmopolitan' composers of the Soviet era. The book's three parts explore, respectively, the musical trends of the 1920s, music and musical life under Stalin, and the so-called 'Bronze Age' of Soviet music after Stalin's death. Music of the Soviet Era: 1917-1991 considers the privileged position of music in the USSR in comparison to the written and visual arts. Through his examination of the history of the arts in the Soviet state, Hakobian's work celebrates the human spirit's wonderful capacity to derive advantage even from the most inauspicious conditions.
Among the conflicts to break out during the Cultural Revolution in Tibet, the most famous took place in the summer of 1969 in Nyemo, a county to the south and west of Lhasa. In this incident, hundreds of villagers formed a mob led by a young nun who was said to be possessed by a deity associated with the famous warrior-king Gesar. In their rampage the mob attacked, mutilated, and killed county officials and local villagers as well as People's Liberation Army troops. This groundbreaking book, the first on the Cultural Revolution in Tibet, revisits the Nyemo Incident, which has long been romanticized as the epitome of Tibetan nationalist resistance against China.
Call Number: Sibley Music Stacks (Circulating) - 2nd 3rd or 4th Fl ML76.E898 P438 2013
Publication Date: 2013-05-13
This fascinating and lively volume makes the case that the Eurovision Song Contest is an arena for European identification in which both national solidarity and participation in a European identity are confirmed, and a site where cultural struggles over the meanings, frontiers and limits of Europe are enacted.
Public space is political space. When a work of public art is put up or taken down, it is an inherently political statement, and the work's aesthetics are inextricably entwined with its political valences. Democracy's openness allows public art to explore its values critically and to suggest new ones. However, it also facilitates artworks that can surreptitiously or fortuitously undermine democratic values. Today, as bigotry and authoritarianism are on the rise and democratic movements seek to combat them, as Confederate monuments fall and sculptures celebrating diversity rise, the struggle over the values enshrined in the public arena has taken on a new urgency. .
A Queerly Joyful Noise examines how choral singing can be both personally transformative and politically impactful. As they blend their different voices to create something beautiful, LGBTIQ singers stand together and make themselves heard. Comparing queer choral performances to the uses of group singing within the civil rights and labor movements, Julia "Jules" Balén maps the relationship between different forms of oppression and strategic musical forms of resistance. She also explores the potential this queer communal space creates for mobilizing progressive social action.
Silvia Bermúdez's fascinating study reveals how Spanish popular music, produced between 1980 and 2013, was the first cultural site to engage in critical debate about ethnicity and race in relation to the immigration patterns that have been changing the social landscape of Spanish society since the late 1970s.
Can you change the world through song? This appealing idea has long been the professed aim of singers who are part of choruses affiliated with the Gay and Lesbian Association of Choruses (GALA). These choruses first emerged in the 1970s, and grew out of a very American tradition of (often gender-segregated) choral singing that explicitly presents itself as a community-based activity. By taking a close look at these choruses and their mission, Heather MacLachlan unpacks the fascinating historical and cultural dynamics behind groups that seek to change society for the better by encouraging acceptance of LGBT-identified people and promoting diversity more generally.
This book investigates the place of music in Soviet society during the eras of Lenin and Stalin. It examines the different strategies adopted by composers and musicians in their attempts to carve out careers in a rapidly evolving society, discusses the role of music in Soviet society and people's lives, and shows how political ideology proved an inspiration as well as an inhibition. It explores how music and politics interacted in the lives of two of the twentieth century's greatest composers - Shostakovich and Prokofiev - and also in the lives of less well-known composers. In addition it considers the specialist composers of early Soviet musical propaganda, amateur music making, and musical life in the non-Russian republics. The book will appeal to specialists in Soviet music history, those with an interest in twentieth century music in general, and also to students of the history, culture and politics of the Soviet Union.
More than 410 active full-text, non-open access journals; more than 270 active full-text, non-open access peer-reviewed journals; more than 190 full-text books. Detailed indexing and abstracts for many leading academic journals, magazines and trade publications. Strong international coverage, including periodicals published in French, Italian, German, Spanish and Dutch. Coverage dating back to 1914.
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Subject areas include African-American studies, anthropology, Asian studies, business, ecology, economics, education, finance, history, literature, mathematics, philosophy, political science, population studies, sociology, statistics. The University of Rochester Libraries currently subscribes to the following multidisciplinary JSTOR Collections: Arts and Sciences I through XV. JSTOR also packages their content in disciplinary collections; however, the only ones of these that we have licensed are the Biological Sciences segment and the first of the Business collections. For alumni access, see also Alumni Library Gateway.
Full text - articles, ads, pictures - of New York Times (1851 - 2011) & other major papers. Click "More" link for their names.
Atlanta Constitution (1868 - 1984) Atlanta Daily World (1931-2003) Baltimore Afro-American (1893-1988) Baltimore Sun (1837-1992) Boston Globe (1872 - 1985) Chicago Defender (1909-1975) Chicago Tribune (1849 - 1993) Christian Science Monitor (1908 - 2004) Globe and Mail (1844-2014) Irish Times (1859 - 2016) Louisville Courier (1830 - 2000) Los Angeles Times (1881 - 1993) Minneapolis Tribune (1867 - 2001) New York Amsterdam News (1922-1993) New York Times (1851 - 2013) U.S, Northeast Collection (1785 - 2010) Some issues for 1953, 1962-1963, 1965, 1978 were never published due to pressman's strikes. No Sunday issue was published until April 21, 1861. New York Tribune (1841-1962) Pittsburgh Courier (1911-2002) South China Morning Post (1903-1998) Times of India (1838-2008) Wall Street Journal (1889 - 2000) Washington Post (1877 - 2000)
Expands and enhances the global bibliography of writings on music with the addition of a million pages of full-text content from more than 200 key periodicals, many of which are not available anywhere else online.
Over 1,000,000 images covering art, architecture,fashion and archeology. Software tools support teaching and research.
including: viewing and analyzing images through features such as zooming and panning, saving groups of images online for personal or shared uses, and creating and delivering presentations both online and offline.
The over 6000 posters represented here were given to the UR’s Rare Books and Special Collections by Dr. Edward C. Atwater beginning in 2007. The posters, over 8000 of them total, document efforts to educate and inform the people of over 100 countries in over 60 languages, from 1982 to the present.
Digital collections that feature areas of special collections from the Research Library are available online. Digital collections may complement a Research Institute exhibition or focus on a particular artist, subject, collection, or group of collections. In addition to images and other media, they may include contextual and historical information and links to related resources both inside and outside the Getty.
Getty Images, the world's largest photo agency, has made up to 35 million photos free to use, in an effort to combat piracy, through their new "embed tool. Images can also be shared on social media sites Twitter and Tumblr.
More than 400,000 high-resolution digital images of public domain works in the Museum’s collection may be downloaded directly from the Museum’s website for non-commercial use—including in scholarly publications in any media—without permission from the Museum and without a fee.