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Presents a fascinating account of the emotional politics and practices in the West German alternative left.
During the 20th century, medico-technical advances such as the invention of the latex condom (1930), the arrival of the contraceptive pill on the free market (1960/61) and the birth of the first child conceived by in vitro fertilization (1978) contributed to the fact that in Europe and the USA, the planning, conceiving and making of children was increasingly perceived as a matter of individual and collective decision-making. Especially since mid-century, these societies underwent profound political, economic and cultural evolutions. In the realm of human reproduction the relationship between the possible, the desirable, and the permitted had to be continually renegotiated. This volume examines in nine chapters how thinking, speaking and acting changed with regards to reproduction and family planning throughout the modern and post-modern period. Applying an international comparative perspective, the study specifically focuses on the role of value changes underlying these transformation processes.
The book distinctive is listed in points (i) it focuses on Eastern European art covering the historical avant-garde to the post-war and contemporary periods of; (ii) it looks at some key artists in the countries that have not been given so much attention within this content i.e. Georgia, Dagestan, Chechnya and Central Asia; (iii) it looks beyond Eastern Europe to the influence of Russia/Soviet Union in Asia. It explores the theoretical models developed for understanding contemporary art across Eastern Europe and focus on the new generation of Georgian artists who emerged in the immediate years before and after the country’s independence from the Soviet Union; and on to discuss the legacy and debates around monuments across Poland, Russia and Ukraine.helps in Better understanding the postwar and contemporary art in Eastern Europe.
This book examines the synthesis of globalizing influences that precipitated the anti-authoritarian revolts in West Germany in the 1960s and 1970s.
No other art movement has so profoundly influenced radical politics as the Situationist International. But beyond the clichs about its purported leader Guy Debord, the "society of the spectacle," dtournement and drive, lies a more complex story about key historical shifts in the composition of capital, work, labor, art, and revolutionary theory during the 1950s and 60s. With and Against reframes the history of the Situationist International as a struggle to come to terms with the then-emerging ideologies of cybernetics and automation. Through each of the book's four chapters, Dominique Routhier dissects Situationist pamphlets, documents, artworks, and objects that refract elements of a "cybernetic hypothesis": the theoretically hyperbolic belief that technological progress, computers and automation make class struggle and the idea of revolution obsolete. With equal attention to aesthetic detail and to the broader contours of political economy, this book serves as a critical intervention in art history as well a call to reconsider, more broadly, the contemporary lessons of the most political of all artistic avantgardes.
The 1960s saw the emergence in the Netherlands of a generation of avant-garde musicians with a pronounced commitment to social and political engagement. This book presents the Dutch experience as an exemplary case study in the complex and conflictual encounter of the musical avant-garde with the decade's currents of social change.
The Pussy Riot protest, and the subsequent heavy handed treatment of the protestors, grabbed the headlines, but this was not an isolated instance of art being noticeably critical of the regime. As this book, based on extensive original research, shows, there has been gradually emerging over recent decades a significant counter-culture in the art world which satirises and ridicules the regime and the values it represents, at the same time putting forward, through art, alternative values. The book traces the development of art and protest in recent decades, discusses how art of this kind engages in political and social protest, and provides many illustrations as examples of art as protest. The book concludes by discussing how important art has been in facilitating new social values and in prompting political protests.
This history of emancipatory left-wing politics examines the border-crossing uprisings of the 1960s, on both sides of the Cold War divide.
Biography of the Abortion Act, exploring how it was shaped by and shaped a changing UK.
This volume fills this gap by examining the many ways in which political parties, the business world, foreign policymakers, and the intelligence community experienced, confronted, and even actively contributed to domestic and transnational forms of dissent.