DOCSLIB.ORG

Book of Abstracts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BOOK OF ABSTRACTS BOOK OF ABSTRACTS BOOK OF ABSTRACTS KISMIF Convenors International Conference Keep it Simple, Make it Fast! Andy Bennett and Paula Guerra Underground Music Scenes and DIY Cultures 8-11 July 2014 KISMIF Organizing Committee Faculty of Arts of the University of Porto and Andy Bennett, Augusto Santos Silva, Carles Feixa, Casa da Música – Porto, Portugal José Machado Pais, Luís Fernandes, Manuel Loff, Paula Abreu, Paula Guerra, Pedro Costa and Publisher Rui Telmo Gomes. Faculdade de Letras da Universidade do Porto (Faculty of Arts of the University of Porto) – Porto, Portugal KISMIF Executive Commission Ana Oliveira, João Queirós, Paula Abreu, Paula Guerra, ISBN Pedro Quintela, Rui Telmo Gomes, Tânia Moreira, Teresa 978-989-8648-26-6 Velásquez and Vítor Massa. Editors KISMIF Volunteers Paula Guerra, Andy Bennett (Supervising Editors) Alexandra Ferreira Carvalho, Ana Luísa Aguiar, Ana Rita Tânia Moreira Ribeiro, Ana Silva, Andreia Marques, Andreia Pinheiro, Ângela Pinto, Bárbara Pereira, Beatriz Duarte, Bernardo Edition Guerra, Bruna Gonçalves, Catarina Barbosa, Catarina KISMIF Conference and Faculty of Arts of the University Pinho, Catarina Ribeiro Figueiredo, Cláudia Alves, Daniela of Porto Oliveira, Diana Ferreira, Diana Silva, Diogo Cardoso, Diogo Guedes Vidal, Diogo Ribeiro, Eduardo da Silva, Eliana Design Frazão, Fátima Soares, Francisco Reis, Gil Fesch, Inês Rita Araújo and Marta Borges Guimarães, Inês Pereira, Inês Pinto, Inês Ramos Marques, Isabel Magalhães, Jennifer Moody, Jéssica Cardoso, Photos Joana Carvalho, Joana Dias, Joana Ribeiro Santos, João Alfredo Valdemar Alvela, Bárbara Cabral, Carlos Beto, Lima, João Pedro Pereira, Joana Carvalho, Márcia Batista, Carlos Moura, Cristina Mamede, Dario Oliveira, Maria Guimarães, Mariana Araújo, Mariana Sá, Mariana Fernando Serpa, Francisco Dias, Iolanda Baptista, Silva, Marta Rodrigues, Raquel Sousa, Raquel Tavares, João Ribas, Luís Pedro, Luís Salema, Pedro Khron, Ricardo Adriano, Rita Ribeiro, Rui Ferreira, Rute Neves, Peter Machado, Neno Costa, Vítor Belanciano Sara Almeida, Sara Pereira Mota, Sara Tavares Almeida, Sofia Sousa, Thiago Alves, Tiago Andrade, Vanessa Claro Contents Contents 5 Welcome words 7 PRACTICAL INFORMATION 9 Venue Information 11 Other practical information 19 PROGRAMME 21 Parallel Sessions 23 Detailed Schedule 45 BESIDES THE KISMIF INTERNATIONAL CONFERENCE: DISCOVERING PORTO 51 Live Porto: a social program 53 Discovering Porto 61 KEYNOTE SPEAKERS 67 ABSTRACTS 75 A 77 B 87 C 97 D 105 E 109 F 119 G 127 H 133 J 137 K 143 L 147 M 155 N 159 O 163 P 171 Q 175 R 181 S 191 T 197 U 201 V 207 W 213 Z 143 5 CONTENTS W e l c o m e w o r d s Dear colleagues, we are delighted to meet you all at the KISMIF International Conference in Porto! The underground music scenes were, for a long time, associated with strong DIY (do-it-yourself) cultural practices. Con- sequently, in this Conference we intend to discuss the importance of underground artistic and musical practices in con- temporary society, both for its volatility and for its undeniable importance in youth cultures urban, keeping a record of sociological reflection, although open to all other social sciences. Underground urban musical cultures were and still are considered by many as illegitimate objects of analysis within the framing of contemporary social theory. However, these cultures play a central role in the functioning of music (post) industry and in the outlook of emerging digital media. We also intend to clarify the musical scenes that run through contemporary cities, giving them rhythms but also specific forms of cultural identity, as well as a new historical, social and artistic heritage. In sum, this International Conference aims to explore the contemporary landscapes of underground urban music scenes and DIY cultures in a context of glo- balized modernity. The Conference is organized according to the following seven thematic areas: Music and DIY cultures: DIY or Die!; Porto calling: meanings, dynamics, artifacts and identities in today’s punk scenes; Music scenes, politics and ideology: social-historical memories and contemporary practices; Contemporary underground cultures’ aesthetics: between the digital, the retro and the nostalgia; Musical production, mediation, consumption and fruition in the contem- poraneity; Underground music scenes; and, last, Local scenes, communities, identities and urban cultures. This object of analysis and inspiring motto of KISMIF International Conference falls within the development of the scientific research project Keep it simple, make it fast! (KISMIF): Prolegomenons and punk scenes, a road to Portu- guese contemporaneity (1977-2012) (PTDC/CS-SOC/118830/2010), whose goal is the analysis of the punk manifestations in Portugal since its origins until nowadays (1977-2012). KISMIF is supported by the Portuguese Foundation for Science and Technology (FCT) and is being developed in the Sociology Institute of the Faculty of Arts of the University of Porto (IS|UP) in a partnership with the Griffith Centre for Cultural Research (GCCR), the Universitat of Lleida (UdL), the Faculty of Economics of the University of Porto (FEP), the Faculty of Economics of the University of Coimbra (FEUC), the Faculty of Psychology of the University of Porto (FPCE) and the Lisbon Municipal Libraries (BLX). KISMIF’s approach is trans-disci- plinary (Anthropology, History, Psychology, Communication, Journalism and Sociology) and deals with different time and space frames, in both synchronic and diachronic manners, in order to unveil the curtains that hide this barely visible and complex research object. It privileges a dialogue between punk’s production and reception, within the Portuguese urban culture framework, but it also intends to conceptualize the music phenomenon both as one the most ancient, universal and important ways of communicating and as an important tool to build identity and community identity definition. In addition to the Conference’s Scientific Program, we have also a Cultural and Artistic Program which are related to the imperative of music in action. We consider essential viewing, experience and enjoyment of interpretive contexts in which we stand. Hence the importance of the exhibitions - of fanzines, books, posters, photographs or re- cords, here taken as extensions of a look and as illustrative materials and involvement in underground universes -, the concerts and dj sets and the cycle of documentary films. We hope that you like and adhere to these different proposals. This publication is intended, therefore, to present the KISMIF International Conference bringing to you some practical information, but also the presentation of programmatic lines and actors that are part of this great event. Next, we will also present the curriculum notes of the conference participants, as well as the abstracts of their presentations. Finally, we would like to finish this brief introduction with the hopeful statement that this first initiative can be subject of continu- ing in the coming years and a source of emergency of partnerships and networks of scientific collaboration for the future. Once again, we wish all of you a warm welcome and a wonderful stay in Porto! Andy Bennett & Paula Guerra KISMIF Convenors http://www.punk.pt/en/ http://www.punk.pt/conference-2/ http://kismif.eventqualia.net/en/2014/home/ https://www.facebook.com/kismif.conference2014 https://www.facebook.com/pages/Keep-It-Simple-Make-It-Fast/470317193045476?ref=hl 7 WELCOME WORDS PRACTICAL INFORMATION V e n u e I n f o r m a t i o n Faculty of Arts of the University of Porto (FLUP) The Faculty of Arts of the University of Porto, with over 3000 students, offers 13 undergraduate courses (licen- ciatura), 30 Master’s courses (mestrado) and 18 doctoral courses (doutoramento) in the following areas: Archaeol- ogy, Information Science, Communication Sciences, Lan- guage Sciences, Teaching Methodology, Cultural Studies, Philosophy, Geography, History, History of Art, Classical and Modern Languages, Literature, Museology, Portuguese as a Foreign Language, International Relations, Sociology, Translation Studies and Tourism. Some of these courses are taught jointly with other Faculties of the University of Porto and/or other universities. Apart from the degrees offered, the Faculty also provides a wide variety of vocational training courses as well as open courses (including a range of language programmes, from Arabic, Chinese and Japanese to Hun- MusiCult by Photo given garian, Polish and Persian). Most of the vocational training H o w t o g e t t o F L U P ? courses are certified by the Portuguese Pedagogical and Scientific Council for In-Service Training and award credits By metro Metro” above); (b) by bus: bus 207 for career development. The nearest Metro station to passes by Campanhã and heads Based on an exchange of knowledge and ex- FLUP is Casa da Música and it’s towards Foz. This bus will take you approximately 10 minutes away on to Rua do Campo Alegre, where pertise, the courses are designed to encourage the pro- foot. Once up on the surface, you you will have to stop at Junta de duction of scientific knowledge and provide students with can get on bus 204 heading to Foz Massarelos. If you get off at S. the professional skills they will require to enter the labour and stop at Junta de Massarelos in Bento, there are also 2 means market and to pursue endeavours in entrepreneurship. Campo Alegre. The Faculty of Arts of public transport available: A number of the master’s courses have a professional
Recommended publications
  • Jewish Survivors and Descendants of Survivors of Nazi Genocide Unequivocally Condemn the Massacre of Palestinians in Gaza

    Jewish Survivors and Descendants of Survivors of Nazi Genocide Unequivocally Condemn the Massacre of Palestinians in Gaza

    Jewish survivors and descendants of survivors of Nazi genocide unequivocally condemn the massacre of Palestinians in Gaza As Jewish survivors and descendents of survivors of the Nazi genocide we unequivocally condemn the massacre of Palestinians in Gaza and the ongoing occupation and colonization of historic Palestine. We further condemn the United States for providing Israel with the funding to carry out the attack, and Western states more generally for using their diplomatic muscle to protect Israel from condemnation. Genocide begins with the silence of the world. We are alarmed by the extreme, racist dehumanization of Palestinians in Israeli society, which has reached a fever-pitch. In Israel, politicians and pundits in The Times of Israel and The Jerusalem Post have called openly for genocide of Palestinians and right-wing Israelis are adopting Neo-Nazi insignia. Furthermore, we are disgusted and outraged by Elie Wiesel’s abuse of our history in other media to promote blatant falsehoods used to justify the unjustifiable: Israel’s wholesale effort to destroy Gaza and the murder of nearly 2,000 Palestinians, including many hundreds of children. Nothing can justify bombing UN shelters, homes, hospitals and universities. Nothing can justify depriving people of electricity and water. We must raise our collective voices and use our collective power to bring about an end to all forms of racism, including the ongoing genocide of Palestinian people. We call for an immediate end to the siege against and blockade of Gaza. We call for the full economic, cultural and academic boycott of Israel. “Never again” must mean NEVER AGAIN FOR ANYONE! Signed, Survivors Sonia Herzbrun, survivor of Nazi genocide, Tom Mayer, son of survivor and grandson of David Rohrlich, son of refugees from Vienna, H.
  • Over 300 Survivors and Descendants of Survivors and Victims of the Nazi Genocide Condemn Israel’S Assault on Gaza

    Over 300 Survivors and Descendants of Survivors and Victims of the Nazi Genocide Condemn Israel’S Assault on Gaza

    Over 300 Survivors and Descendants of Survivors and Victims of the Nazi Genocide Condemn Israel’s Assault on Gaza Jewish survivors and descendants of survivors and victims of Nazi genocide unequivocally condemn the massacre of Palestinians in Gaza As Jewish survivors and descendants of survivors and victims of the Nazi genocide we unequivocally condemn the massacre of Palestinians in Gaza and the ongoing occupation and colonization of historic Palestine. We further condemn the United States for providing Israel with the funding to carry out the attack, and Western states more generally for using their diplomatic muscle to protect Israel from condemnation. Genocide begins with the silence of the world. We are alarmed by the extreme, racist dehumanization of Palestinians in Israeli society, which has reached a fever-pitch. In Israel, politicians and pundits in The Times of Israel and The Jerusalem Post have called openly for genocide of Palestinians and right-wing Israelis are adopting Neo-Nazi insignia. Furthermore, we are disgusted and outraged by Elie Wiesel’s abuse of our history in these pages to justify the unjustifiable: Israel’s wholesale effort to destroy Gaza and the murder of more than 2,000 Palestinians, including many hundreds of children. Nothing can justify bombing UN shelters, homes, hospitals and universities. Nothing can justify depriving people of electricity and water. We must raise our collective voices and use our collective power to bring about an end to all forms of racism, including the ongoing genocide of Palestinian people. We call for an immediate end to the siege against and blockade of Gaza.
  • The Henna Artist—And Confidante— Most in Demand to the Wealthy Women of the Upper Class

    The Henna Artist—And Confidante— Most in Demand to the Wealthy Women of the Upper Class

    Escaping from an arranged and abusive marriage, seventeen-year-old Lakshmi makes her way alone from her 1950s rural village to the vibrant pink city of Jaipur. There she becomes the henna artist—and confidante— most in demand to the wealthy women of the upper class. But trusted with the secrets of the wealthy, she can never reveal her own... Known for her original designs and sage advice, Lakshmi must tread carefully to avoid the jealous gossips who could ruin her reputation and her livelihood. As she pursues her dream of an independent life, she is startled one day when she is confronted by her husband, who has tracked her down these many years later with a high-spirited young girl in tow—a sister Lakshmi never knew she had. Suddenly the caution that she has carefully cultivated as protection is threatened. Still she perseveres, applying her talents and lifting up those that surround her as she does. Vivid and compelling in its portrait of one woman’s struggle for fulfillment in a society pivoting between the traditional and the modern, The Henna Artist opens a door into a world that is at once lush and fascinating, stark and cruel. Praise for The Henna Ar tist “Romantic, old-time Rajasthan leaps to life in skilled hands... I can hardly wait for Alka Joshi’s next masterpiece.” —Sujata Massey, internationally bestselling author of The Widows of Malabar Hill “Alka Joshi’s superb first novel is unforgettable... Read this book slowly and savor it: Every page is rich with intricate pleasures for the mind and the heart.” —Anita Amirrezvani, author of The Blood of Flowers and Equal of the Sun “Like a brilliant, magical kaleidoscope, bursting with color..
  • Arbeiten Am Archiv. Die Künstlerin Tanya

    Arbeiten Am Archiv. Die Künstlerin Tanya

    DEUTSCHLANDFUNK – Köln Redaktion Hintergrund Kultur Redakteurin Ulrike Bajohr Feature Arbeiten am Archiv – Die Künstlerin Tanya Ury Von Astrid Nettling Regie: Burkhard Reinartz Urheberrechtlicher Hinweis Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Die Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in §§ 44a bis 63a Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © - unkorrigiertes Exemplar - Sendung: Freitag, 23. Januar 2015, 20.10 - 21.00 Uhr 1 Musik A) CD, Tanya Ury: Das Fundament hat nur darauf gewartet zusammenzubrechen. 01 O-Ton (1) (Tanya Ury): Man geht davon aus, wenn man Sachen an ein Archiv leiht, dass da nichts geschehen wird. Diese Vorstellung, dass das weg ist, ist ein furchtbarer Verlust für mich. Wenn es um meine Familiengeschichte geht, dann geht es um eine jüdische Familie, man hat versucht, sie zu vernichten und war jetzt nicht vorsichtig genug, und eine andere Art Vernichtung ist wieder geschehen. Sprecherin (1): Am 03. März 2009 stürzt das Historische Archiv der Stadt Köln in sich zusammen. Fast der gesamte Bestand aus über 1200 Jahren Stadt-, Regional- und Kirchengeschichte rutscht in den riesigen Krater, der durch Bauarbeiten für die neue U-Bahn unmittelbar neben dem Archivgebäude entstanden war. 02 O-Ton (2) (Tanya Ury): Das Stichwort 'Archiv' und 'Archivieren' wurde mir erst absolut klar bewusst, als ich und meine Familie die Familienpapiere und andere persönliche Sachen der Stadt Köln geliehen habe, also, Historisches Archiv der Stadt Köln, und als das eingestürzt ist. Ansage: Arbeiten am Archiv – Die Künstlerin Tanya Ury. Feature von Astrid Nettling Sprecherin (2) (Tanya Ury, Die Gehängten, 1): Ein großer Teil meiner Familie stammt aus Köln.
  • The Project Gutenberg Ebook of Project Daedalus, by Thomas Hoover This Ebook Is for the Use of Anyone Anywhere at No Cost and Wi

    The Project Gutenberg Ebook of Project Daedalus, by Thomas Hoover This Ebook Is for the Use of Anyone Anywhere at No Cost and Wi

    The Project Gutenberg EBook of Project Daedalus, by Thomas Hoover This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org ** This is a COPYRIGHTED Project Gutenberg eBook, Details Below ** ** Please follow the copyright guidelines in this file. ** Title: Project Daedalus Author: Thomas Hoover Release Date: November 14, 2010 [EBook #34320] Language: English Character set encoding: UTF-8 *** START OF THIS PROJECT GUTENBERG EBOOK PROJECT DAEDALUS *** Produced by Al Haines ============================================================== This work is licensed under a Creative Commons Attribution 3.0 Unported License, http://creativecommons.org/ ============================================================== PROJECT DAEDALUS Retired agent Michael Vance is approached for help on the same day by an old KGB adversary and a brilliant and beautiful NSA code breaker. While their problems seem at first glance to be different, Vance soon learns he’s got a potentially lethal tiger by the tail – a Japanese tiger. A secret agreement between a breakaway wing of the Russian military and the Yakuza, the Japanese crime lords, bears the potential to shift the balance or world power. The catalyst is a superplane that skims the edge of space – the ultimate in death-dealing potential. In a desperate union with an international force of intelligence mavericks, with megabillions and global supremacy at stake, Vance has only a few days to bring down a conspiracy that threatens to ignite nuclear Armageddon. Publisher’s Weekly “Hoover’s adept handling of convincing detail enhances this entertaining thriller as his characters deal and double-deal their way through settings ranging from the Acropolis to the inside of a spacecraft.
  • Call for Proposals for the Hans and Lea Grundig Prize 2017

    Call for Proposals for the Hans and Lea Grundig Prize 2017

    Call for Proposals for the Hans and Lea Grundig Prize 2017 A diasporist lives and paints in two or more societies at once. Diasporic art is contradictory at its heart, being both internationalist and particularist. It can be inconsistent, which is a major blasphemy against the logic of much art education, because life in Diaspora is often inconsistent and tense; schismatic cont- radiction animates each day. (R.B. Kitaj’s “Diasporist Manifesto”, 1988) A prize named in commemoration of the artists Hans Grundig (1901–1958) and Lea Grundig (1906–1977), under the patronage of the Rosa Luxemburg Foundation will be awarded for artistic and art historical achievement, as well as for achievement in the communication of art. The category Artistic Projects welcomes completed and already exhibited contemporary contributions that reflect on R.B. Kitaj’s diasporist philosophy: contradiction, resistance, migration, flight, and exile — ever more people live in different societies concurrently and venture art that in its radicalness is political. The category Art Historical Works welcomes research that focuses on the analysis and exploration of the diasporic in the work of artists who have personally experienced persecution and enforced exile. Especi- ally welcome are contributions on the themes “Proletarian Revolutionary Art”, “Verism in the 20th cen- tury”, “Exile Art in Palestine/Israel”, as well as “Jewish Artists in Divided Postwar Germany”. The category Communication of Art welcomes submissions addressing curatorial projects that have pro- moted, and continue to promote the communication of research and works concerned with socio-critical art practices of the 20th and 21st century. This prize has been granted biannually since 2015.
  • Everything but the Girl Eden Mp3, Flac, Wma

    Everything but the Girl Eden Mp3, Flac, Wma

    Everything But The Girl Eden mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Latin Album: Eden Country: UK & Europe Released: 1985 Style: Acoustic, Bossanova MP3 version RAR size: 1312 mb FLAC version RAR size: 1970 mb WMA version RAR size: 1581 mb Rating: 4.8 Votes: 674 Other Formats: AAC MP2 AA AIFF WMA AU DXD Tracklist Hide Credits Each And Every One A1 2:45 Written-By – Ben Watt and Tracey Thorn* Bittersweet A2 2:49 Written-By – Tracey Thorn Tender Blue A3 3:02 Written-By – Ben Watt Another Bridge A4 2:11 Written-By – Ben Watt and Tracey Thorn* The Spice Of Life A5 3:29 Written-By – Tracey Thorn The Dustbowl A6 1:37 Written-By – Tracey Thorn Crabwalk B1 3:25 Written-By – Ben Watt Even So B2 2:31 Written-By – Tracey Thorn Frost And Fire B3 3:11 Written-By – Tracey Thorn and Ben Watt* Fascination B4 3:20 Written-By – Tracey Thorn I Must Confess B5 3:10 Written-By – Ben Watt Soft Touch B6 2:01 Written-By – Ben Watt Companies, etc. Manufactured By – Record Service GmbH Phonographic Copyright (p) – WEA Records Ltd. Copyright (c) – WEA Records Ltd. Made By – WEA Musik GmbH Published By – Complete Music Ltd. Recorded At – Power Plant Studios Credits Acoustic Guitar, Vocals – Tracey Thorn Alto Saxophone – Pete King* Cover – Jane Fox Double Bass – Chucho Merchan Drums – Charles Hayward Engineer – Mike Pela Guitar – Simon Booth Guitar, Organ [Hammond], Vocals, Piano, Arranged By [Horn] – Ben Watt Percussion – Joao Bosco De Oliveira Producer – Robin Millar Tenor Saxophone – Nigel Nash Trumpet, Flugelhorn – Dick Pearce Notes Produced for Modern Media London Ltd.
  • Turks, Jews, and Other Germans in Contemporary Art an Introduction

    Turks, Jews, and Other Germans in Contemporary Art an Introduction

    peter chametzky Turks, Jews, and Other Germans in Contemporary Art An Introduction The urge to migrate is no less “natural” than the urge to settle. Kwame Anthony Appiah One might argue, in fact, that it is simply irresponsible for European states to continue to allow significant segments of their populations to be driven by nostalgia for homogeneity. There is no longer room to pretend that European countries will return to some imagined, idealized state of ethnic and cultural sameness. Rita Chin ich werde deutsch ch werde deutsch (I become German) provides the provocative Ititle for a series begun in 2008 of large-scale, staged photographs by German photographer Maziar Moradi. Born in Tehran in 1975, Moradi’s series 1979 told the story of his own family’s experience in and emigra- tion from Islamic revolutionary Iran and won the German Photographic Society’s biennial Otto Steinert Prize in 2007. In Ich werde deutsch each image presents a transitional moment, now experienced in Germany, within extended geopolitical narratives of migration not limited to the artist’s family or to Iran. Moradi has described the series: I become German tells the stories of young migrants who have left their homelands and begun a new life in Germany, but through their families have grown up with a different cultural background. I’ve collected stories from these young people with a migration background (Menschen mit Migrationshintergrund) from childhood to adulthood . They relate problems . but also positive experiences and transformations . This project is a continuation of my work about my family, 1979 . but this time it’s about the next genera- tion, their children.1 655 THE MASSACHUSETTS REVIEW Peter Chametzky Many of the photographs in Ich werde deutsch depict single, contem- plative figu es in evocative settings.
  • 2009 Joint Conference of the National Popular Culture and American Culture Associations

    2009 Joint Conference of the National Popular Culture and American Culture Associations

    2009 Joint Conference of the National Popular Culture and American Culture Associations April 8 – 11, 2009 New Orleans Marriott Delores F. Rauscher, Editor & PCA/ACA Conference Coordinator Michigan State University Wiley-Blackwell Editor: Elna Lim Additional information about the PCA/ACA available at www.pcaaca.org 2 Table of Contents The 2008 National Conference Popular Culture Association & American Culture Association Area Chairs ..................................5 PCA/ACA Board Members.........................................................13 Officers........................................................................................13 Executive Officers.......................................................................13 Past & Future Conferences..........................................................14 Conference Papers For Sale; Benefits Endowment.....................15 Exhibit Hours ..............................................................................15 Business & Board Meetings........................................................16 Film Screenings...........................................................................18 Tours, Get-Togethers, Receptions, & Dinners............................22 Special Sessions ..........................................................................24 SCHEDULE OVERVIEW:............................................................32 DAILY SCHEDULE: ....................................................................52 Wednesday, 12:30 P.M. – 2:00 P.M. .........................................52
  • Commercial Alternative

    Commercial Alternative

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Birkbeck Institutional Research Online Commercial Alternative Joseph Brooker – Slow down / You’re taking me over… 1 – Another victory like that and we are done for.2 By the end of the 1980s, popular culture and media commentary brimmed with a self-conscious desire to name and describe the present. Few decades have had as clear an account of themselves as the 1980s, whatever the gaps and limits of that account. The 1990s became ever more sure of what had happened in the 1980s; but packing the 1990s themselves into a compelling summary proved more difficult. For the time being, those looking for stories of the last decade must make do with tracts like Stephen Bayley’s Labour Camp, a brief, bilious assault on the aesthetics and politics of Blair’s first term. For all his rancour, snobbery and carelessness, Bayley lands a few hits, and leaves a few hints. Bayley reads New Labour in terms not of social and economic policy, but of taste and image: Blair’s choice of car, the efforts at ‘rebranding Britain’, the design of the Dome. The cultural emblem of the Blair years, he proposes, is Elton John: He is a popular phenomenon, therefore it is irrelevant and elitist even to wonder if he is actually any good. He is emphatically middle-of-the-road. He is classless.... After a much-reported past of rock-star excess, he is clean, dried out…. Whoever would have thought you could relaunch old Labour? Whoever would have thought you could relaunch Elton John? The parallels between the two transformations are remarkable.3 The thought is suggestive, but leaves much unsaid about the new terrain inherited and shaped by the Blair government.
  • Round the Corner: Pawnbroking in the Victorian Novel Jennifer Tate Becker Washington University in St

    Round the Corner: Pawnbroking in the Victorian Novel Jennifer Tate Becker Washington University in St

    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Summer 9-1-2014 Round the Corner: Pawnbroking in the Victorian Novel Jennifer Tate Becker Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Becker, Jennifer Tate, "Round the Corner: Pawnbroking in the Victorian Novel" (2014). All Theses and Dissertations (ETDs). 1286. https://openscholarship.wustl.edu/etd/1286 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of English Dissertation Examination Committee: William McKelvy, Chair Miriam Bailin Guinn Batten Matthew Erlin Lynne Tatlock “Round the Corner”: Pawnbroking in the Victorian Novel by Jennifer Tate Becker A dissertation presented to the Graduate School of Arts and Sciences of Washington University for partial fulfillment of the requirements for the degree of Doctor of Philosophy August 2014 St. Louis, Missouri Table of Contents Acknowledgements iii Introduction: Looking “Round the Corner” 2 Chapter 1: Dickens and the “Strange Mutability” of the Pawn Shop 24 Chapter 2: “What might, perhaps, have been expected”: Thackeray’s 83 Pledging and Social Speculation Chapter 3: “You do not think what
  • Ury Desmarais

    Ury Desmarais

    REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE JOURNAL OF CROSS-CULTURAL IMAGE STUDIES IMAGINATIONS JOURNAL OF CROSS_CULTURAL IMAGE STUDIES | REVUE D’ÉTUDES INTERCULTURELLES DE L’IMAGE Publication details, including open access policy and instructions for contributors: http://imaginations.csj.ualberta.ca “Interview” Tanya Ury & Claude Desmaris May 21, 2012 To Cite this Article: Ury, Tanya and Claude Desmarais. “Interview” Imaginations 3:1 (2011): Web (date ac- cessed) 4-9. DOI: 10.17742/IMAGE.stealimage.3-1.3 To Link to this article: http://dx.doi.org/10.17742/IMAGE.stealimage.3-1.3 The copyright for each article belongs to the author and has been published in this journal under a Creative Commons Attribution NonCommercial NoDerivatives 3.0 license that allows others to share for non-commercial purposes the work with an acknowledgement of the work’s authorship and initial publication in this journal. The content of this article represents the author’s original work and any third-party content, either image or text, has been included under the Fair Dealing exception in the Canadian Copyright Act, or the author has provided the required publication permissions. TANYA URY IMAGINATIONS INTERVIEW Army surplus, on the other hand, is an inexpensive way to dress and what’s more, lends the wearer a look that WITH ARTIST TANYA URY suggests power and standing. I have photographed such clothing being worn on the streets internationally for Q: Fading into the Foreground depicts the everyday the ongoing Fading into the Foreground series and it wear of camouflage; does this represent to you a is often the marginalised, road workers, who wear decontextualization of war and violence? You spoke camouflage, not as a fashion statement, but because it of your shock and horror witnessing the display of is durable and cheap to purchase.