competing germanies reveals interchange and even mimicry between antifascist and nationalist german cultural institutions. furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist free german stage and the nationalist german theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance.
its cross-cultural, polyglot blend of german, jewish, and latin american studies gives competing germanies a wide, interdisciplinary academic appeal and offers a novel intervention in exile studies through the lens of theater, in which both victims of nazism and its adherents remain in focus.
(来源indiebound) (2)'>following world war ii, german antifascists and nationalists in buenos aires believed theater was crucial to their highly politicized efforts at community-building, and each population devoted considerable resources to competing against its rival onstage. competing germanies tracks the paths of several stage actors from european theaters to buenos aires and explores how two of argentina's most influential immigrant groups, german nationalists and antifascists (jewish and non-jewish), clashed on the city's stages. covered widely in german- and spanish-language media, theatrical performances articulated strident nazi, antifascist, and zionist platforms. meanwhile, as their thespian representatives grappled onstage for political leverage among emigrants and argentines, behind the curtain, conflicts simmered within partisan institutions and among theatergoers. publicly they projected unity, but offstage nationalist, antifascist, and zionist populations were rife with infighting on issues of political allegiance, cultural identity and, especially, integration with their argentine hosts.
competing germanies reveals interchange and even mimicry between antifascist and nationalist german cultural institutions. furthermore, performances at both theaters also fit into contemporary invocations of diasporas, including taboos and postponements of return to the native country, connections among multiple communities, and forms of longing, memory, and (dis)identification. sharply divergent at first glance, their shared condition as cultural institutions of emigrant populations caused the antifascist free german stage and the nationalist german theater to adopt parallel tactics in community-building, intercultural relationships, and dramatic performance.
its cross-cultural, polyglot blend of german, jewish, and latin american studies gives competing germanies a wide, interdisciplinary academic appeal and offers a novel intervention in exile studies through the lens of theater, in which both victims of nazism and its adherents remain in focus.
(来源indiebound) (2)the collapse of the soviet union forced russia to engage in a process of nation building. this involved a reassessment of the past, both historical and cultural, and how it should be remembered. the publication of previously barely known underground and émigré literary works presented an opportunity to reappraise «official» soviet literature and re-evaluate twentieth-century russian literature as a whole.
this book explores changes to the poetry canon - an instrument for maintaining individual and collective memory - to show how cultural memory has informed the evolution of post-soviet russian identity. it examines how concerns over identity are shaping the canon, and in which directions, and analyses the interrelationship between national identity (whether ethnic, imperial, or civic) and attempts to revise the canon. this study situates the discussion of national identity within the cultural field and in the context of canon formation as a complex expression of aesthetic, political, and institutional factors. it encompasses a period of far-reaching upheaval in russia and reveals the tension between a desire for change and a longing for stability that was expressed by attempts to reshape the literary canon and, by doing so, to create a new twentieth-century past and the foundations of a new identity for the nation.
in his own lifetime, william blake (1757-1827) was a relatively unknown nonconventional artist with a strong political bent. william blake and the age of aquarius is a beautifully illustrated look at how, some two hundred years after his birth, the antiestablishment values embodied in blake's art and poetry became a model for artists of the american counterculture.
this book provides new insights into the politics and protests of blake's own lifetime, and the generation of artists who revived and reimagined his work in the mid-1940s through 1970, or what might be called the "long sixties." contributors explore blake's outsider status in georgian england and how his individualistic vision spoke to members of the beat generation, hippies, radical poets and writers, and other voices of the counterculture. among the artists, musicians, and writers who looked to blake were such diverse figures as diane arbus, jay defeo, the doors, sam francis, allen ginsberg, jess, agnes martin, ad reinhardt, charles seliger, maurice sendak, robert smithson, clyfford still, and many others. this book also explores visual cultures around such galvanizing moments of the 1960s as woodstock and the summer of love.
william blake and the age of aquarius shows how blake's myths, visions, and radicalism found new life among american artists who valued individualism and creativity, explored expanded consciousness, and celebrated youth, peace, and the power of love in a turbulent age.
exhibition schedule:
mary and leigh block museum of art, northwestern university
september 23, 2017-march 11, 2018
a stunningly illustrated look at how blake's radical vision influenced artists of the beat generation and 1960s counterculture
in his own lifetime, william blake (1757-1827) was a relatively unknown nonconventional artist with a strong political bent. william blake and the age of aquarius is a beautifully illustrated look at how, some two hundred years after his birth, the antiestablishment values embodied in blake's art and poetry became a model for artists of the american counterculture.
this book provides new insights into the politics and protests of blake's own lifetime, and the generation of artists who revived and reimagined his work in the mid-1940s through 1970, or what might be called the "long sixties." contributors explore blake's outsider status in georgian england and how his individualistic vision spoke to members of the beat generation, hippies, radical poets and writers, and other voices of the counterculture. among the artists, musicians, and writers who looked to blake were such diverse figures as diane arbus, jay defeo, the doors, sam francis, allen ginsberg, jess, agnes martin, ad reinhardt, charles seliger, maurice sendak, robert smithson, clyfford still, and many others. this book also explores visual cultures around such galvanizing moments of the 1960s as woodstock and the summer of love.
william blake and the age of aquarius shows how blake's myths, visions, and radicalism found new life among american artists who valued individualism and creativity, explored expanded consciousness, and celebrated youth, peace, and the power of love in a turbulent age.
exhibition schedule:
mary and leigh block museum of art, northwestern university
september 23, 2017-march 11, 2018
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