1970s Culture

Soyut sanatın öncülerinden biri olarak kabul edilen Hollandalı ressam Piet Mondrian’ın 1895-1944 yıllarını kapsayan sanatı; Natüralizm, Modernist, Kübizm ve Neoplastisizm gibi dönemleri içerir. 1895’te Van Gogh gibi sanatçıların etkisiyle manzara temalı çalışmalara başlar. 1912’de Kübizm’den ilham alarak renk ve çizgileri azaltıp sadeliğe yönelir. 1917 yılından itibaren antik ve modern düşünce etkilerini taşıyan mistik, felsefi ve dini düşünce gibi öğretileri birleştiren Teozofi felsefesi ile kendi stilini yakalar. Bu çalışmanın amacı; Piet Mondrian’ın sanatını dört dönem halinde ele alarak Teozofi felsefesi ile olan ilişkisini ortaya çıkarmaktır. Bu doğrultuda araştırmada sanatçı eserleri ve literatür taraması yapılarak nitel araştırma yöntemi kullanılmıştır. Sonuç olarak, Piet Mondrian sanatı üzerinde Teozofi felsefesinin tek başına etkili olduğu söylenemez çünkü Mondrian sanatı birçok üsluptan beslenerek oluşturulan kompleks bir sanattır. Fakat Mondrian sanatı ile Teozofi felsefe...

This paper critically examines the historical narrative of the U.S. Moon landings (1969-1972) through Michael Cunningham's Theory of Educide, which posits that systematic rewriting of history and education constitutes a "genocide of education" to control narratives. By comparing official accounts taught in history books with inconsistencies in the post-Apollo space program, the study questions why human lunar exploration ceased despite claimed technological success. Five main points analyze discrepancies in the Apollo narrative, reasons for not returning to the Moon, and the shift to low Earth orbit missions. Applying Cunningham's theory, the paper argues that media framing and institutional control suppressed alternative interpretations, perpetuating educide. Five reasons explain the withholding of truth,

Was erzählt Pop über die deutsche Geschichte?

In der Popmusik spiegelt sich die Zeitgeschichte. Pop leistet dadurch einen Beitrag zur deutschen Erinnerungskultur und wird zum Kritiker der Zustände. Marcus S. Kleiner erzählt die Geschichte der deutschsprachigen Popmusik der letzten 80 Jahre zusammenhängend und beleuchtet das Zusammenspiel von Pop und Politik. Die politische Popmusik bleibt über alle Jahrzehnte hinweg eine Stimme gegen gruppenbezogene Menschenfeindlichkeit, rechte Bedrohungsallianzen, Nationalismus, Militarismus und vieles mehr.

Mit zahlreichen Interviews, u. a. mit Sammy Amara (Broilers), Thorsten Nagelschmidt (Muff Potter), Jan Müller (Tocotronic) und Ingo Knollmann (Donots).

»Das Phänomen Popmusik an sich finde ich politisch. Weil es mit der Gesellschaft zu tun hat, weil Popmusik in der Gesellschaft funktioniert und dort sofort politische Fragen aufwirft.«
Thorsten Nagelschmidt (Muff Potter)

Erscheint am 14. Mai 2025

This article examines the emergence of organised foreign mass tourism in Spain, focusing on the introduction of the French company Club Méditerranée. In 1950, Club Méditerranée built its first tent resort in Mallorca and in 1962 established the first brick resort in Cadaqués, in Costa Brava. Under the Franco dictatorship, from the 1960s onwards, Spain not only developed foreign mass tourism targeted at the working classes but also opened its doors to an alternative sector of tourism. This sector, primarily explored by the young bourgeoisie, sought to liberate itself from the rigid norms imposed by a society governed by conventional values. The early experiences of Club Méditerranée in Spain reflect this shift in the perception of holidays as moments of liberation and compensation from the routines of everyday consumerism. This context reveals an aversion to mass consumption, the resort using various practices and strategies to distinguish itself through extra-beach activities. The article aims to demonstrate that in Spain during the 1950s and 1960s, the introduction of mass tourism was not only a step towards modernity and national identity construction, but also an entry point for contracultural thought, which was of significant concern to the political regime.

While there have been various books and shows on specific aspects of the 1980s underground, this exhibition is perhaps the first attempt at a cross-decade overview. It steps back from single genres or individual venues to survey the bigger picture and what really went on... Dismissed as a grey decade where money replaced self-expression, once the surface of the 1980s is scratched, what happened at underground level is revealed to be fascinating-a subversive and genuinely fertile period of youth culture.

Toni Ritonen Työn nimi Indie-yhtyeen vienti kansainvälisille markkinoille Työn ohjaaja(t) Jyrki Simovaara, Harri Saksala Aloitin kotimaisen indie-yhtye Underwater Sleeping Societyn keikkamyyjänä ja managerina vuonna 2006. Asetimme tavoitteeksemme nostaa yhtye suurempaan tietoisuuteen musiikinkuluttajien parissa ja laajentaa sen toimintakenttää Suomesta ulkomaiden suuntaan. Päätavoitteenamme oli levyn julkaisu ja keikkailun aloittaminen myös ulkomailla. Omaehtoista musiikkia esittävän englanniksi laulavan artistin/bändin markkinat ovat maassamme rajalliset, joten markkinoita on etsittävä Suomen rajojen ulkopuolelta. Toiminnallisen opinnäytetyöni aihe oli syntynyt. Kuvaan tässä toiminnallisen opinnäytetyöni raportissa yhtyeen vientiprosessin alkutilanteen ja keskeisimmät vaiheet aina vuoden 2007 alusta vuoden 2009 syksyyn. Keskeisimpiä vaiheita ovat mm. erilaiset musiikkimessut, yhtyeen showcase -keikat ja levynjulkaisut Euroopassa. Pohdin prosessin aikana havaitsemaani verrattuna musiikkibisneksen murrokseen ja sen tulevaisuuteen. Opinnäytetyöni merkitys on oma ammatillinen kehittyminen, sillä tämä on samalla ollut allekirjoittaneelle syväluotaava "do-it-yourself" -kurssi musiikkiliiketoiminnan ja -viennin saloihin.

Questo contributo inquadra la "crisi petrolifera" del 1973 nel suo contesto storico, delineando al contempo alcuni importanti sviluppi dell'economia politica internazionale degli anni successivi che, in modo più o meno mediato, possono essere considerati come "conseguenze" della crisi stessa.

Niklas Luhmann hat sich häufig zur Demokratie geäußert, seinen Aussagen nach ist eine „Volksherrschaft“, in der das Volk über sich selbst herrsche, nicht möglich. Eine Äußerung über die vieldiskutierte Frage, ob in der antiken athenischen Demokratie das Volk herrschte, ist in seinen Schriften nicht zu finden. Dennoch vermag sein Werk der Erforschung des klassischen Athen neue Impulse zu geben: Luhmanns Systematik gesellschaftlicher Differenzierungen ermöglicht einen Vergleich der attischen Demokratie mit anderen politischen Ordnungen der Antike und Moderne, der über eine Gegenüberstellung einzelner Institutionen hinausgeht.

Ausstellung
06.12.24, 19:00 – 19.02.25, 18:00
THERE IS STILL MORE TO COME
MASHA GODOVANNAYA
Kuratiert von Ivana Marjanović

Masha Godovannayas audiovisuelle Arbeiten konzentrieren sich auf Landschaft, Queerness, Migration, Auto-/Ethnographie und das Alltägliche. Ihre Produktion versteht sie als künstlerische Forschung und kollektive Aktion. Zentrales Element ihrer Arbeit sind hybride Filme, in denen händisch entwickeltes 16-mm-Material mit digitalem Video verbunden wird. Damit geht ein dokumentarischer Ansatz mit sinnlicher Ästhetik, experimentellem Kino, queerer Relationalität und verkörperter Ethik einher.

En este artículo se estudian cuatro óperas rock publicadas en Argentina a fines de 1972: Sudamérica o el regreso a la aurora, de Arco Iris; Cristo Rock, de Raúl Porchetto; Tontos (Operita), de Billy Bond y la Pesada del Rock and Roll; y Ohperra vida de Beto, de Materia Gris. A través del análisis de sus canciones y de una serie de publicaciones que dieron cuenta de cómo se escucharon estos discos, el trabajo releva algunos de los esfuerzos más manifiestos que realizaron los rockeros argentinos para poner en diálogo sus ambiciones musicales con los discursos contestatarios y las expectativas de transformación social, que por aquellos meses se intensificaron a un nivel sin precedentes en la historia argentina. ¿De qué modo participó por entonces el rock argentino del proceso de movilización social y de radicalización política en curso? ¿Cuál podía o debía ser el rol del rock en aquellos días de politización según los propios músicos, los fanáticos rockeros y los militantes políticos? Este texto ofrece algunas respuestas a esas preguntas y, de ese modo, aporta a la comprensión de los vínculos entre juventud, música y política en la Argentina de los años setenta.

Kıbrıs'ta Türk varlığının başladığı 16.yüzyıldan sonra Ada'da kurulan siyasi ve idari sistemde Müslümanlar yönetim kademlerinde(kademelerinde) görev almışlardır. Ada'nın diğer etnik toplumları olan Rumlar, Ermeniler ve Maronitler ise toplumsal iş bölümünde kendilerine düşen tali görev ve sorumlukları yerine getirmişlerdir. Osmanlı yönetim anlayışında Padişah hem dünyevi hem de uhrevi anlamda siyasi ve idari sistemin merkezinde yer almış ve üstlenmiş olduğu sorumluluğu Sadrazam ve Şeyhülislam aracılığıyla yerine getirmiştir. Bu durum Osmanlı'nın Kıbrıs'taki yönetimine de yansımış, Ada'daki idari yapı Sadrazamı temsilen Beylerbeyi-Mutasarrıf ile Şeyhülislam'ı temsilen ise Kadı'nın sorumluluğunda tesis edilmiştir1. Kıbrıs'ta kurulan Osmanlı idari sistemi Ada'nın İngiltere'ye geçici olarak terk edildiği 1878 yılından sonra değişmiştir. Kıbrıs'taki geçici İngiliz yönetimi 1878 yılı eylül ayında anayasal düzene geçmiştir. Kıbrıs'ta kurulan anayasal düzenin yasama görevini yapan Kavanin Meclisi'nde yerel halktan seçilmiş temsilciler ile birlikte İngiliz vatandaşı atanmış görevliler yer almış, bununla birlikte kamusal alandaki görevlilerin dağılımı da nüfusları ile orantılı olacak şekilde düzenlenmiştir2. Bu durum Ada'da çoğunluk nüfusa sahip Rumların lehine olurken Kıbrıs Türkleri bu düzenlemeden olumsuz etkilenmişlerdir. Kıbrıs Türkleri 19.yüzyıla kadar Ada'daki esnaf örgütlenmeleri olan loncalık, ahilik vb. yapılar içinde yer almışlar, ancak siyasi herhangi bir oluşum yapmamışlardır. Bu durum 19. Yüzyılın sonralarına doğru değişmeye başlamıştır. Kıbrıs Türklerinin siyasi örgütlenmelerini teşvik eden iki unsur; Rumların Enosis 3 amaçlı faaliyetleri ile Jön Türk hareketinin Ada'daki etkileri olmuştur 4. Kıbrıs Türkleri yukarıda bahsedilen dinamiklerin etkisiyle Ada'nın başkenti olan Lefkoşa'daki Osmanlı Kıraathanesi'nde bir araya gelerek toplum sorunlarını görüşmeye başlamışlardır. Osmanlı Kıraathanesi, bilinen anlamda örgütlü birleşme olmasa da toplum sorunlarının görüşüldüğü buluşma mekânı olmuştur. Bu misyon 20. Yüzyılın başlarından itibaren yine Lefkoşa'da bulunan Kardeş Ocağı tarafından üstlenilmiştir5. Kıbrıs Türk toplumu arasında hızla kabul gören bir araya gelme iradesi, İkinci Meşrutiyet ile birlikte daha bilinçli bir şekilde olmaya başlamıştır. Türk Teavün Cemiyeti, Hürriyet Cemiyeti vb. örgütlenmeler Osmanlı Devleti'nde etkili olmaya başlayan İttihat ve Terakki Partisi'nden ilham almışlardır 6. Ancak 1914 yılında başlayan Birinci Dünya Savaşı hem Kıbrıs'ın geleceğini hem de Kıbrıs Türklerinin örgütlenme faaliyetlerini doğrudan etkilemiştir.

Oddajemy w Państwa ręce efekt pracy zespołu interdyscyplinarnego, skupiającego historyków, archeologów, geografów i historyków sztuki. W każdym zeszycie planowanej przez nas serii znajdziecie Państwo teksty poświęcone ważniejszym okresom w dziejach danej dzielnicy czy osiedla obecnego Lublina. W ramkach umieszczonych na marginesie tekstu podajemy wyjaśnienia nie tylko terminów specjalistycznych, które dla większości mieszkańców Lublina mogą nie być zrozumiałe, ale także krótkie informacje o niektórych historycznych wsiach. Wszystkie ona oznaczono w tekście głównym grubszą czcionką (np. dziesięcina, Mętów). Konsekwentnie stosujemy tu jednak jasne kryteria doboru wyjaśnianych terminów i nazw. Nie podajemy bowiem informacji o wszystkich wymienionych w tekście głównym miejscowościach. Przede wszystkim pomijamy historyczne wsie, które dały początek obecnym dzielnicom i osiedlom Lublina (np. Wrotków), gdyż te wyczerpująco zostaną opisane w innych zeszytach serii. Następnie pomijamy wsie lub miasta leżące w większej odległości od Lublina, choćby leżały w ziemi lubelskiej. Tym samym skupiamy się na wsiach odległych obecnie o kilka-kilkanaście kilometrów od Lublina, zaś podając ważniejsze informacje o nich ograniczamy się tylko do daty pierwszej wzmianki, ewentualnej daty lokacji (gdy jest różna od daty pierwszej wzmianki), oraz informacji świadczących o związkach danej osady z miastem Lublinem, wsiami otaczającymi go, które dały początek obecnym osiedlom i dzielnicom miasta, a także z lubelskimi urzędnikami ziemskimi (np. podkomorzym, starostą). teatR foRmy otwaRtej, pRoj. o. i z. hansen, fot. l. 70. XX w.

W drugiej połowie XX wieku Niemcy Zachodnie zmagały się z falą lewicowego terroryzmu. Podłoże ideologiczne dla lewicowych ugrupowań terrorystycznych dały m.in. protesty z 1968 r., które przelały się szeroko przez całą Europę. Miały one wpływ na powstanie jednej z niemieckich organizacji terrorystycznych -Frakcji Czerwonej Armii (RAF). Jednak genezy RAF trzeba szukać wcześniej, na jej powstanie miała wpływ historia powojennych Niemiec, sytuacja międzynarodowa, a także działalność enerdowskiej policji politycznej Stasi. Działalność terrorystów z RAF była najbardziej bezkompromisowa w powojennej Europie. Przyczyniła się do największej fali przemocy w historii Niemiec po II wojnie światowej, z którą w pierwszym okresie działalności nie radziły sobie zachodnioniemieckie służby kryminalne i porządkowe. W celu zwalczania RAF w 1972 r. powstała GSG-9 (Grenzschutzgruppe 9), jedna z najlepszych grup antyterrorystycznych na świecie 1 .

Der Aufsatz widmet sich der Präsenz des Disco-Genres in der DDR in den 1970er Jahren. Trotz kulturpolitischer Bemühungen, den Einfluss der als bedrohlich erachteten westdeutschen Diskothekenszene zurückzudrängen und die Diskothek als Raum zu kontrollieren, war das Disco-Genre in der DDR in verschiedenen Dimensionen präsent. Angelegt als Mikrostudie dient die Fernsehshow Ein Kessel Buntes als Hauptressource und Untersuchungsfeld, anhand dessen Erscheinungsformen und Rezeptionsvorgänge des Genres in der DDR herausgearbeitet werden. In der Show traten Disco-Künstler*innen aus dem Westen auf, wurden westliche Disco-Tracks vertanzt oder in Übersetzungen gegeben, sowie erklangen Tracks von DDR-Musiker*innen, die die etablierte ‚Disco-Formel‘ adaptierten. Eine Analyse der Auftritte nimmt deren musikalische, textliche und choreographische Dimension in den Blick. Vor dem Hintergrund der Konnotationen des Disco-Genres in den USA und der BRD, den Produktionsbedingungen und der Erschließung der Diskothek als Raum entfaltet sich ein ambivalentes Bild der Ost-West-Beziehung.

English version:
The article examines the presence of the disco genre in the German Democratic Republic (GDR) in the 1970s. Despite cultural policy efforts to limit the impact of the West German disco scene and to control disco as a space, the disco genre was nevertheless present in the GDR in various ways. The television show Ein Kessel Buntes serves as the article’s field of investigation and main resource for examining manifestations and processes of reception. On this show, Western artists performed disco, the 'Fernsehballett' danced to Western tracks or translated versions, and GDR musicians performed their own songs adapted to the established 'disco formula'. The analysis of the performances takes the musical, textual, and choreographic dimensions equally into account. Viewed within the context of disco’s connotations in the USA and West Germany, the conditions of music production, and the development of the disco as a space, Ein Kessel Buntes reveals an ambivalent picture of West-East relations.

En annan sida av medeltiden: den sovjetiska* »She past is never dead. It's n o t even past.» (William Faulkner) »Dessutom ar det ganska poänglöst att pi detta satt grava i det förflutna.» (Lars-Arne Norborg) Citatet av Faulkner anfördes av den amerikanske sovjetforskaren Stephen Cohen är 1977 som argument för att det ar nödvändigt att studera den sovjetiska historien intensivare an vad som nu ar fallet i väst, för att förståelsen av dagens sovjetiska samhalle skaU kunna fördjupas. Cohen varnade mot följderna av den nedgång i sovjetforskningen som under 70-talet skett i USA. Tidigare hade man i totalitarismparadigmets tecken mest studerat den politiska regimen i sovjetisk historia. När man sedan övergatt till behavioristiska och komparativa metoder, hade den historiska aspekten försummats. Nu, nar en god grund hade lagts för bättre kunskaper om Sovjetunionen, hade man börjat skara ner forskningsanslagen. Cohen menade med sovjetisk historia just sovjetisk, dvs perioden efter 19 17. Det går givetvis inte att stanna vid detta årtal, om man vill försöka nå f~rståelse av hela det sovjetiska samhället och dess kultur i vid mening. aven den ryska historien före 19 17 måste beaktas. Lundahistorikern Lars-Arne Norborgs utsaga framfördes 1979 i en f ö mycket valvillig recension av en svensk undersökning av den sovjetiska debatten om förhållandet mellan samliallet och naturen. Undersökningen hade agnats tidsperioden 1960-1976. Vad Norborg vande sig mot var, att författarna (Lars Lundgren och jag) konstaterade, att utvecklingen under hela sovjeteran visade, att Sovjetunionen försuttit sin historiska chans att visa hur man tillvaratar miljöintressena nar man upprättar och bygger ett socialistiskt samhälle. Vad Norborg awisade soin poänglöst gravande i det sovjetiska förflutna byggde på följande omdöme (som han inte anförde) p5 samma sida i boken: »Den lärdom, som obönhörligen infinner sig, när man studerar miljöproblem i Sovjet, ar alt marxism-leninismen som statlig ideologi, statligt agande av produktionsmedlen och socialistisk planhushållning inte alls behöver innebära att vasentliga miijöintressen tillvaratas vid utvecklingen av folkhushillet». Norborg menade att man i stället för att »gräva i det förflutna» skulle blicka framåt och i både öst och väst anta »utmaningen från vår skadade och hotade miljö)). Det ar inte troligt att en framstående forskare och skicklig historiker som Lars-* Omarbetad version av ett föredrag i Historiska föreningen i Lund 1977

Negli anni Settanta Roma rappresenta un laboratorio artistico d’avanguardia, a cui si affianca un momento politico straordinario con Giulio Carlo Argan sindaco. Al tempo stesso, la città si trova a fare i conti con un assetto urbanistico-sociale problematico, derivato dalle recenti e rapide trasformazioni del centro e della periferia. Lo spazio urbano, inteso come «spazio sociale», diviene per gli artisti un orizzonte in cui testare i limiti della disciplina; un’area in cui dare avvio a processi di reinvenzione creativa insieme alle comunità. Rintracciando i punti di discontinuità e di contatto con il panorama nazionale, il volume si propone di ricostruire le esperienze artistiche romane legate all’operatività estetica, tendenza teorizzata da Enrico Crispolti e presentata alla Biennale di Venezia del 1976. I casi indagati – alcuni per la prima volta oggetto di un approfondimento critico – rispecchiano l’originalità e la complessità della situazione romana: dalle iniziative promosse dal Comune (gli interventi a piazza Margana, l’Estate romana), ai collettivi che si confrontano con la dimensione urbana (Ufficio per l’immaginazione preventiva, Non gruppo-Erostrato, poi Frazione Clandestina), agli esempi radicati nel territorio con una forte vocazione sociale (Cooperativa Alzaia e Operazione Roma Eterna). Osservare la capitale attraverso il rapporto tra arte e città equivale allora a indagare, secondo nuove coordinate, Roma negli anni Settanta e la sua natura di “palinsesto”.

Cemalettin Canlı’nın uzun bir araştırma süreciyle tarihe not düştüğü ve NotaBene Yayınları’ndan geçtiğimiz aylarda yayımlanan Gölköy’ün Devrimci Yolu: Caniklerden Bir Direniş Öyküsü kitabı, Türkiye’de sosyalist hareketin kırsal alanlardaki örgütlenme süreçlerini, yerel halkın politikleşmesini ve devrimci mücadelenin sosyolojik dinamiklerini inceleyen bir çalışma olmasının yanı sıra, 1970’li yılların toplumsal çalkantılarında, Karadeniz’in dağlık coğrafyasına sıkışmış bir ilçede filizlenen devrimci hareketin, yerel halkın sosyalizme ve örgütlü mücadeleye yönelişini gözler önüne sermesi açısından da dikkate değerdir. Kitap, Fatsa’nın gölgesinde kalmış ama ona ruh veren, etrafındaki ilçelerle birlikte şekillenen sol hareketin tarihini yeniden keşfetmemize olanak tanıyor.

Bértola is recognized in the field of electroacoustic composition and, as Aharonián and Paraskevaídis have pointed out, his work is characterized by timbral exploration, distinctive textures, use of silence and repetition, austerity of materials, and a structure based on repetitive units without development.

En el año 1986 se produjo una de los más fatídicos e impactantes accidentes nucleares conocidos, concretamente en la ciudad industrial de Chernóbil, al norte de Ucrania. Dentro de los profesionales desplegados por el gobierno soviético destacó la figura de Valeri Legásov, reconocido químico inorgánico quien jugó un rol fundamental tanto en la minimización de los daños ocasionados por la radiación, como en las secuelas políticas del accidente.

Marc Camille Chaimowicz’s groundbreaking installation Celebration? Realife was originally created for ‘Three Life Situations’ at Gallery House London in 1972. The work is a strange hybrid of scatter environment, a theatrical stage and a performance piece. Meant as a critique of modernist objectivism, Celebration? Realife is also a consciously messy and ambivalent reaction to the clean conceits of Conceptualist and post-Minimalist tendencies.
Tom Holert argues that with Celebration? Realife, Chaimowicz makes a strategic and important meditation on the changing role of the artist, who in this defining work simultaneously becomes art director, choreographer and participant. Celebration? Realife probes the relationship between art, design, popular culture and performance at a moment when these disciplines, genres and milieus hardly ever met. Holert shows how this influential work inventively anticipates and helps to define an important and increasingly popular tendency in art.

Popular culture encompasses and draws on a rich history of works by musicians, filmmakers, writers, photographers, and performers who question the contours of traditional sexual and gender identities, including but not limited to members of LGBTQIA* communities. When encountered on the stage or screen, for instance, in the guise of drag performances, forms of sexual ambiguity often spark fascination. Yet in everyday life in various socio-cultural contexts, sexual and bodily difference in all its forms is still met with hostility, rendering vulnerable those human beings that deviate from the white, male, straight, able-bodied norm. Queer artists today respond to social stigma in multiple creative ways, for example, by transforming negative affect, fostering a politics of care, and rewriting history.

This volume considers how feminist, queer, and trans* musicians, filmmakers, curators, and performance artists contribute to popular culture. It explores the many ways of relating to difference, however this is conceived, that their contributions enable. What affects do their works engender? How do they rouse their audience, and to what ends? How do they fabricate and circulate provocative messages about new forms of gender, race, class, and desire? What other visions do they inspire?

An exploration of the fluctuating fortunes of Sunderland in the late 1970s, chronicling a period brimming with an intoxicating concoction of hope, excitement, disappointment, and tragedy.
The story travels from the fall of ‘Messiah’ Bob Stokoe, and the wasted opportunity to appoint former son Brian Clough, through Jimmy Adamson’s troubled reign that included a youth-inspired revival with its cruel finale, and the gloomy malaise that accompanied second-tier stagnation.
Adamson’s abrupt resignation sparked an embarrassingly theatrical manager hunt as the club worked their way through a list of big-name targets, and the ensuing promotion push under ad hoc bosses sent supporters spiralling on an emotional rollercoaster.
Despite the tribulations, entertainment value was high, and the intelligent narrative is supported with authentic dialogue and reminiscences. A plethora of North East connections are spotlighted, and a bountiful blend of characters and events from the wider scene are weaved throughout (managers, players, sport, popular culture, and politics).
As well as providing essential reading for local supporters, the book generates widespread recognition for all interested in this fascinating era.

This essay revisits the 1978 Venice Biennale, titled From Nature to Art, from Art to Nature, to discuss the "gender neutral" use of both notions within the exhibition's official discourse at the time. Against the backdrop of the 1970s, amid the momentum of second-wave feminism, initiatives concomitant to the exhibition discerned and challenged the persisting, though implicit, gendered implications of both art and nature, complicating the Biennale's main narrative. These initiatives included self-organized shows by feminist collectives, namely the Gruppo Femminista Immagine from Varese and Donne/Immagine/Creatività from Naples. Informed by a Marxist perspective, both exhibitions, I argue, engaged with reproductive labor in original ways to contest and dismantle traditional assumptions of an inherent connection between women and nature.

Sanat, insanların kendini dışavurumlarının bir aracısıdır ve sanatçı bu yolla kendini ifade etmektedir. Soyut sanat ise doğada olan biçimler yerine sanatçının gördüğü ya da algıladığı biçimde farklı şekilde aktarılmayla ilişkilidir. Soyut sanat, sanatçının eserlerinde genel olarak doğada var olan gerçek nesneleri tasvir etmek yerine biçim ve renk kullanarak sanatsal gerçeklik düzleminde nesnelere ve betimlemelere yer vermesi olarak tanımlanmaktadır. Klasik olana kıyasla soyut sanat, sanatçısı ile daha yüksek düzeyde ilintilidir ve onu ortaya çıkaranın iç dünyasını bilmeden anlaşılamaz ve yorumlanamaz niteliktedir. Geleneksel ya da klasik olana göre farklı yorum ve algılanış niteliğindeki soyut sanat, farklı bir bakış açısından nesneleri ya da duyguları tasvir etmektir. Resim ile diğer güzel sanatlar arasındaki geçişkenlik her zaman olasıdır ve her bir sanat alanı diğeri üzerinde etkide bulunabilmektedir. Mimarlık veya mimari de binaları ve mekânları tasarlama sırasında diğer sanat alanlarından ve özellikle resimden etkilenme potansiyeline sahiptir. Farklı olarak algılanmak ve estetik duygular yaratmak için mimaride soyut sanattan etkilenmek olasıdır. Estetik yaratıcılıkla inşa sanatını bütünleştirmeyi amaçlayan bu çalışmada Wassily Kandisky'nin Red Spot II adlı eseri örnek olay olarak mimari tasarım açısından ele alınmakta ve literatür bağlamında yorumlanmaktadır. Çalışmada renk ve biçim açısından aykırı duran farklı parçalar yoluyla yaratılan soyut sanat eserlerinin biçim ve mekân tasarımında farklı algılar yaratmak amaçlı olarak kullanılabileceği ortaya konulmaktadır.

Objective: Analyze NASA's efforts to "sell" both its mission and its successes from its origins in 1958 to the present. Methods. Use public opinion polling and qualitative sources to establish change over time. Results. Study suggests that NASA's public support was less important than most have previously asserted, and that the overall activities of NASA have been advanced by a small base of supporters, challenged by a small group of opponents, and sustained by a larger number of people who accept a status quo in space exploration. Conclusion. A general public lack of support for expending many dollars on spaceflight has been a fundamental reality of NASA since its beginning. It is not changing, and probably not changeable, in the predictive future. Accordingly, NASA's quest for human spaceflight's popular appeal remains an elusive goal.

This article examines And Justice for All’s (1979) peculiar spin on the courtroom drama. Though the film embraces a mode of seriousness to portray sexual violence and an unjust criminal justice system, it also includes an undercurrent of dark comedy and absurdity. The article shows how the film incorporates dark-comedic absurdity to emphasize how severely malfunctional the criminal justice system is. While the film reproduces the lawyer-as-hero trope known from earlier eras in American film history, it is very disillusioned with the state of the criminal justice system as such. In this sense, it gives viewers a recognizable lawyer-hero to root for even though the film invites viewers to be very skeptical of the state of the system.

This paper analyzes the act of 'thalaikoothal,' performed on ill and infirm older people in the southern part of the state of Tamil Nadu, India, with reference to two Tamil films, K.D. (2019) and Thalaikoothal (2023), which portray the horrors of the practice. A kind of involuntary euthanasia, the ritual continues to have covert social acceptance as exemplified in the films, favoring the common stereotype that marks aging bodies as unproductive and unworthy of living. Therefore, this article explores the aging bodies in the films as sites of power, controlled by death enforced through Thalaikoothal, employing Mbembe's concept of 'necropower.' It also examines the effects of the practice on the elderly, who are compelled to prepare themselves for a forced death. The study further identifies the underlying factors contributing to the prolonged existence of Thalaikoothal even in the present times.

The 1960s and 70s formed the wilderness years of the Christmas movie. Sandwiched between the genre’s post-war golden age and its commercial revival in the 1980s, these decades have come to be regarded as the Bermuda Triangle of festive cinema — where many features have become lost in the mists of Christmas past and have subsequently been forgotten by later generations.

Far from a creative backwater, however, this period would bear witness to some of the most fascinating, unconventional and experimental Christmas movies ever to reach the big screen, with features such as "The Apartment", "The Lion in Winter" and "Black Christmas" all subverting expectations of the holiday season to produce compelling narratives and memorable themes through wildly different artistic approaches.

From the author of "The Golden Age of Christmas Movies", "A Righteously Awesome Eighties Christmas" and "A Totally Bodacious Nineties Christmas", this book considers the festive cinema of the sixties and seventies in detail, taking a look at the movies that came to define this unpredictable period in recent history while also reflecting on those features that broke the mould in entirely different ways — including "Santa and the Ice Cream Bunny", "The Magic Christmas Tree" and (perhaps most infamously of all) "Santa Claus Conquers the Martians". When these tempestuous decades carried the torch for Christmas films, the features on offer may rarely have been traditional, but even today they remain captivating, intriguing and very difficult to ignore for those who are willing to revisit them.

Risk-takers, rule-breakers, troublemakers. The men and women who made American motion pictures during the 1970s were anything but safe or prudish when it came to tackling subjects that were not only controversial but also relatable to millions of audiences who, only a few years earlier, had lost faith in the Hollywood studio system to accurately reflect modern-day life. From relatively seasoned auteurs like Robert Altman and Hal Ashby, who had apprenticed within the old system during the 1960s before bringing their idiosyncratic visions to the screen a decade later, to the many film school-educated "movie brats" that burst onto the scene with their own unique takes on established genres (on view in Martin Scorsese's directorial debut Who's That Knocking At My Door [1967] Steven Spielberg's white-knuckle road movie Duel [1971], and Francis Ford Coppola's epic gangster film The Godfather [1972]), talent was abundant throughout that period, both behind the camera and in front of the lens. Indeed, some of the greatest actors to have graced the screen-Ellen Burstyn,

Since the very beginnig of Gorbacev’s secretariat, the Italian Communist Party strongly supported  his  “new thinking” in international politics as well as his economic and political  reforms in the USSR.This chapter examines the attitude of the  Italian Party mainly through the comments of its daily and its weekly, but also pays attention to the archives of its leading organs.

Italian Communist Party (PCI) was going through a difficult period of transition 1. It still was unquestionably the strongest communist party of the capitalist world: it claimed 1,6 millions members, a figure uncomparable with any other European communist party, and could rely on a still significant electoral support. The spectacular outcome of the European elections in 1984, in which the PCI scored 34% of the votes (for the first and only time outrunning the DC) had certainly been helped by the emotional wave aroused by the circumstances of its leader'death: Enrico Berlinguer collapsed during a party meeting, witnessing his unconditional and unselfish devotion to the cause. Yet, the party had already obtained a sound 30% in the general elections of the previous year. Moreover, it enjoyed an undisputed international prestige, and had played a major role in starting a dialogue between European socialdemocracies and the communist block. Yet, some alarmig signs were emerging. Politically, the PCI was at a stalemate. After the 1979 elections, the strategy of the so-called "historic compromise" (i.e. the attempt to revive Italian democracy's founding coalition, by rallying not only the Socialists but also the Christian Democrats), had seriously worn out, even more because the international situation had closed any glimmer to a possible communist participation in the government. At the beginning of the 80s the PCI had lost the central position it had been occupying for some years, was politically isolated and was losing members. As it had already happened at the end of the previous decade, it was at first on the ground of international relations that it seemed able to react. The break with the USSR became deeper. The party, in its large majority, had not hesitated to condemn the Soviet invasion of Afghanistan. In December 1981 the enforcement of the martial law in Poland lead Berlinguer to openly recognize that the "driving force" of the October revolution and the socialist systems as a whole was exhausted. The PCI increasingly tended to conceive and to represent itself much more as a part of the multifarious european Left than as a member of the communist political family. Within the Italian political system, on the contrary, the party tried to recover, though with the necessary updating, many features of an identity that had partly faded away. The goal still was the

Raccontare la storia dell'autonomia meridionale e raccontarla, per giunta, dal punto di vista delle donne, delle compagne, del complicato percorso di ibridazione e distanziamento dalla grande stagione politica del femminismo italiano ed europeo degli anni '70, è un'operazione complicata, difficile, che suona a tratti simile ad un'eresia1. Provare ad intraprendere questo percorso, significa situarsi al centro di un triangolo tutto da tracciare: quello tra movimenti autonomi, femminismo e "questione meridionale"; un triangolo in cui ognuno dei tre vertici-va detto immediatamente-ha avuto, con entrambi gli altri, una relazione difficile, dolorosa, a tratti quasi impossibile. Un percorso che assomiglia ad una ricerca nel vuoto; non un vuoto prodotto dall'assenza, ma dalla iperpresenza di significati e parole dissonanti, di storie reciprocamente conflittuali, di spaccature profondissime.

Resumo: A década de "1970" se apresenta como um momento de tensões e reelaborações epistêmicas e epistemológicas nos campos das artes, das ciências, da política e da sociedade. Índices de repetições e transformações, em comparação com a epistemologia de "1800", apontam para diferenciações das formas de se relacionar com a realidade. Com isso, abordaremos questões levantadas por certa crítica literária brasileira e argentina no que se refere à centralidade do real e papel do ficcional para o debate sobre a representação de experiências para a literatura de 70. Por fim, apontaremos como algumas dimensões trabalhadas pela crítica podem sugerir uma mudança na forma de elaboração dos "espaços de experiência" e "horizontes de expectativa" do período.

Andrea Capriolo / Anni '70: la rete dei Circoli -Pulp Magazine 1/4 di SARA MOLHO 17 LUGLIO 2024 Q uando nel 1978, nel corso di un festival dedicato all'arte di arrangiarsi, i giovani e le giovani che frequentavano Macondo -uno dei molti luoghi controculturali che animarono Milano negli anni Settanta -decisero, letteralmente, di svendere il '68, i 07/09/24, 16:38 Andrea Capriolo / Anni '70: la rete dei Circoli -Pulp Magazine