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Journal of War & Culture Studies最新文献

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Nike erecting the tropaion in written and pictorial sources 耐克在书面和图片资料中建立了这个奖杯
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2022-01-01 DOI: 10.30525/978-9934-26-237-1-29
M. Rusiaieva
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引用次数: 0
British components of Odessa’s architectural and artistic heritage 敖德萨建筑和艺术遗产的英国组成部分
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2022-01-01 DOI: 10.30525/978-9934-26-237-1-10
Yu. A. Pismak
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引用次数: 0
Experience of defending bachelors qualification works of Mykhailo Boichuk Kyiv State Academy of Decorative Applied Arts and Design in the conditions of martial law 在戒严令条件下捍卫基辅国家装饰应用艺术与设计学院学士资格作品的经验
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2022-01-01 DOI: 10.30525/978-9934-26-237-1-28
R. Petruk, V. Khyzhynskyi
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引用次数: 0
The historical mystery as a means of understanding the national heritage 将历史之谜作为理解民族遗产的一种手段
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2022-01-01 DOI: 10.30525/978-9934-26-237-1-2
O. Kolesnyk
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引用次数: 0
Picturesqueness as a quality of the Odessa school of painting and the Odessa school of tapestry 图画性是敖德萨画派和敖德萨挂毯派的一种品质
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2022-01-01 DOI: 10.30525/978-9934-26-237-1-27
N. Loza, Z. D. Borisyuk
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引用次数: 0
The figure of Oleksandr Tverdokhlebov in the development of the national culture of Slobozhanshchyna 斯洛博zhanshchyna民族文化发展中的亚历山大·特维尔多赫列博夫形象
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2022-01-01 DOI: 10.30525/978-9934-26-237-1-12
L. V. Mishchenko
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引用次数: 0
Empathy for the ‘Other’: Neglected Finnish Ethnographic War Photography from Occupied Soviet Territory 对“他者”的同理心:被忽视的来自苏联被占领土的芬兰民族志战争摄影
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2021-12-09 DOI: 10.1080/17526272.2021.2009656
Tuuli Matila, P. Mullins, Timo Ylimaunu
This article examines a series of unsettling images from the Finnish Continuation War (1941–1944) and the memories of the war that these photographs construct for contemporary Finns. We argue that these images can be viewed through Alison Landsberg's (2004) notion of ‘prosthetic memory’, which underlines how visual media enable the acquisition of vivid memories of past events. The paper outlines how these long-ignored photographs narrate unexamined dimensions of World War II in ways that transform how Finns in particular remember the war. The images illustrate a neglected Finnish occupation of Soviet territories and the treatment of Russian civilians under Finnish rule. We argue that the images can provoke empathy for their experiences and therefor challenge traditional and nationalist Finnish war interpretations.
本文考察了一系列来自芬兰继续战争(1941-1944)的令人不安的图像,以及这些照片为当代芬兰人构建的战争记忆。我们认为,这些图像可以通过Alison Landsberg(2004)的“假体记忆”概念来看待,该概念强调了视觉媒体如何能够获得对过去事件的生动记忆。这篇论文概述了这些长期被忽视的照片如何以改变芬兰人对战争的记忆的方式,讲述了第二次世界大战未被审视的维度。这些图片说明了芬兰对苏联领土的占领被忽视,以及芬兰统治下俄罗斯平民的待遇。我们认为,这些图像可以激发对他们的经历的同情,从而挑战传统和民族主义的芬兰战争解释。
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引用次数: 2
Kurdish Narratives of Conflict: the Politics of the Kurdish Question in Turkish Cinema 库尔德冲突叙事:土耳其电影中库尔德问题的政治
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2021-11-18 DOI: 10.1080/17526272.2021.2000729
Laura S.T. Rehbein, Daniel Beck, Morgane Desoutter, Tina Rosner-Merker, Alexander Spencer
Although there has been a considerable amount of research on the Kurdish Question in general, so far, little attention has been given to the relationship between the Kurdish Question and its depiction and constitution in film. The study of films offers insights into how aesthetics inform, determine, enable, and naturalize specific interpretations and actions. This article sees films as narratives and will employ a narrative analysis method that emphasizes the role of setting, characterization, and emplotment as central pillars of any story to examine how four Turkish-Kurdish films understand and represent the Kurdish Question, self and other, and the implications of this representation. The analysis of the films not only reflects on a distinct Kurdish perspective on the matter, but also illustrates the diversity of interpretations and discourses and, as such, broadens the scope of ideas for possible behaviour and solutions to the old conflict.
虽然总体上对库尔德问题进行了大量的研究,但迄今为止,很少有人关注库尔德问题与其在电影中的描绘和构成之间的关系。对电影的研究提供了对美学如何告知、决定、启用和自然化特定解释和行为的见解。本文将电影视为叙事,并将采用一种叙事分析方法,强调背景,人物塑造和就业的作用,作为任何故事的中心支柱,来研究四部土耳其库尔德电影如何理解和表现库尔德问题,自我和他者,以及这种表现的含义。对这些电影的分析不仅反映了库尔德人对此事的独特看法,也说明了解释和话语的多样性,因此,拓宽了对可能的行为和解决旧冲突的想法范围。
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引用次数: 1
‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’ “西班牙在我们的耳朵里:西班牙内战期间支持共和国的国际音乐反应”
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2021-10-02 DOI: 10.1080/17526272.2021.1950958
Igor Contreras Zubillaga, Eva Moreda Rodríguez
This introduction presents and sets the rationale for the special issue ‘Spain in our Ears: International Musical Responses in Support of the Republic during the Spanish Civil War’. It argues that, while research into music during the Spanish Civil War has enjoyed significant advances in the last fifteen years, concern with the international dimensions of such musical responses remains scarce and circumscribed to prominent classical composers with Communist affiliations (Hanns Eisler, Silvestre Revueltas). By inviting a wide range of contributions dealing with a wide range of musics (classical music, film music, popular music), geographies (the US, the URSS, Britain, Germany) and individuals (from Paul Robeson to Dimitri Shostakovich), this special issue therefore enriches discussion of music and the Spanish Civil War with new perspectives (e.g. concerning race issues), while at the same time calling for an increased transnational approach to the study of music and war more generally.
这篇介绍介绍了特刊“西班牙在我们的耳朵里:在西班牙内战期间支持共和国的国际音乐反应”的基本原理。它认为,虽然对西班牙内战期间音乐的研究在过去十五年中取得了重大进展,但对这种音乐反应的国际层面的关注仍然很少,并且仅限于与共产党有联系的著名古典作曲家(汉斯·艾斯勒,西尔维斯特·雷韦尔塔斯)。通过邀请广泛的贡献处理广泛的音乐(古典音乐,电影音乐,流行音乐),地理(美国,苏联,英国,德国)和个人(从保罗·罗伯逊到迪米特里·肖斯塔科维奇),这一特殊问题因此丰富了音乐和西班牙内战的讨论,以新的视角(例如关于种族问题),同时呼吁更多的跨国方法来研究音乐和战争更普遍。
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引用次数: 1
‘Not suitable for exhibition’: Cinema Censorship and International Intervention in Argentina, 1939–1945 “不适合放映”:1939-1945年阿根廷的电影审查制度和国际干预
IF 0.4 Q3 CULTURAL STUDIES Pub Date : 2021-09-10 DOI: 10.1080/17526272.2021.1967552
C. G. Mizala
During the Second World War, Buenos Aires’s Government censored a number of films that they viewed as potentially having a detrimental effect on the political outlooks of its people of Buenos Aires. These bans, which were later extended to the whole nation, were due to the intervention of international and local politicians and diplomats in an attempt to influence the citizens' opinion of the Axis powers. Films such as Confessions of a Nazi Spy (1939) and The Great Dictator (1940) were only screened once the war was over. Through specialized cinema magazines published in Buenos Aires, this article problematizes the different geographical scales in which censorship took place in Argentina during the Second World War. Moreover, it discusses the reasoning and discourses of culture and morality as the main ideas behind the censorship of these films in Buenos Aires, and Argentina more generally.
在第二次世界大战期间,布宜诺斯艾利斯政府审查了一些他们认为可能对布宜诺斯艾利斯人民的政治观点产生有害影响的电影。《纳粹间谍的自白》(1939)和《大独裁者》(1940)等电影在战争结束后才上映。通过在布宜诺斯艾利斯出版的专业电影杂志,本文提出了在第二次世界大战期间,审查制度在阿根廷发生的不同地理尺度的问题。此外,它还讨论了文化和道德的推理和话语,作为布宜诺斯艾利斯和阿根廷更普遍地审查这些电影背后的主要思想。
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引用次数: 0
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Journal of War & Culture Studies
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