scholarly journals Introduction

2009 ◽  
Vol 2 (2) ◽  
pp. v-viii
Author(s):  
Keyword(s):  
Science Fiction ◽  
Comic Strip ◽  
Nous Pouvons ◽  
150Th Anniversary ◽  
High Profile ◽  
Comic Art ◽  
The Right

If comic art were to have its equivalent of the Querelle des Anciens et des Modernes [‘Quarrel of the Ancients and the Moderns’], it would be the polemic that developed in 1996 as an ‘add-on’ to the centenary celebrations of the invention of cinema of a year earlier. Following the assertion that the first comic strip was R. F. Outcault’s Yellow Kid of 1896, French reaction was indignant. Speaking at a high-profile conference in Angoulême, Yves Frémion, media personality and Euro-politician, made a lengthy tongue-in-cheek attack on perceived American usurping of credit for key cultural creations (cinema, science-fiction, bluejeans, AIDS, the Olympics…) before arriving at the following conclusion: Il me revient l’honneur, en commençant ce colloque, d’orienter le débat clairement pour éviter qu’il ne dévie vers un résultat mitigé, et pour que cette imposture soit démasquée sans ambiguïté. En réalité, tout ce que nous pouvons fêter cette année, c’est le cent-cinquantenaire de la mort de l’inventeur de la BD, Rodolphe Töpffer. (6) [In opening this conference I have the honour of setting the debate clearly in the right direction so as to avoid it going off on a dubious tangent, and in order for such impostures to be well and truly outed. In truth, all that is to be celebrated this year is the 150th anniversary of the death of the inventor of the BD, Rodolphe Töpffer.]

scholarly journals The Right to Discriminate

2011 ◽  
Vol 13 (2) ◽  
pp. 157-181 ◽  
Author(s):  
Russell Sandberg
Keyword(s):  
Sexual Orientation ◽  
21St Century ◽  
Judicial Review ◽  
Religious Freedom ◽  
Human Sexuality ◽  
Religious Groups ◽  
Broadcast Media ◽  
High Profile ◽  
The United Kingdom ◽  
The Right

The first decade of the 21st century has witnessed a number of controversies surrounding the interaction between law and religion in the United Kingdom. In particular, tensions have emerged between laws protecting religious freedom and those which prohibit discrimination on grounds of sexual orientation. In particular, Parliament has repeatedly examined the scope and ambit of exceptions afforded to religious groups which allow them to discriminate on grounds of sexual orientation when specific conditions are met. And these exceptions have reportedly led to tensions within both the Blair and Brown cabinets and rebukes from the Vatican and the European Commission, criticising the exceptions for being too narrow and too broad respectively. The exceptions have also been challenged by way of judicial review, have been applied or commented upon in a number of high-profile cases and have attracted comment in the print and broadcast media. A number of employees have brought claims asserting that new legal requirements promoting equality on grounds of sexual orientation are incompatible with their religious beliefs. This article seeks to explore the legal changes that have occurred in the first decade of the 21st century affecting religion and sexual orientation with particular reference to how courts and tribunals have dealt with clashes between the two. It discusses the extent to which English law allows religious groups and individuals to follow their own beliefs regarding human sexuality.

scholarly journals A Parapsychological Naturalist: A Tribute to Mary Rose Barrington (January 31, 1926 – February 20, 2020)

2020 ◽  
Vol 34 (3) ◽  
pp. 597-601
Author(s):  
Zofia Weaver
Keyword(s):  
Science Fiction ◽  
String Quartet ◽  
Classical Music ◽  
Voluntary Euthanasia ◽  
Psychical Research ◽  
Main Interest ◽  
Animal Protection ◽  
Oxford University ◽  
The Right ◽  
Society For Psychical Research

Mary Rose Barrington was born in London; her parents were Americans with Polish-Jewish roots who decided to settle in England. By her own account (she very considerately left a biographical note for her obituary writer), her childhood was idyllic, mostly spent riding her pony and playing tennis, as well as reading her older brother’s science fiction.  Later she became interested in classical music (she was an accomplished musician, playing cello in a string quartet and singing alto in a local choir) and in poetry, obtaining a degree in English from Oxford University. She then studied law, qualified as a barrister and a solicitor, and spent most of her professional life as a lawyer; her duties included acting as charity administrator for a large group of almshouses. Having a career in the law helped in pursuing two interests of special significance to her, animal protection and the right to voluntary euthanasia. She was responsible for drafting three parliamentary Bills relating to these subjects; none of them passed, but they produced some useful discussions. However, her main interest was in psychical research. When she was 15 she read Sir Oliver Lodge’s Survival of Man, and at Oxford she joined the Oxford University Society for Psychical Research, at that time headed by the philosopher H.H. Price and ran by Richard Wilson, later physics professor at Harvard. The society was very active and hosted knowledgeable invited speakers such as Robert Thouless, Mollie Goldney, and Harry Price. Eventually Mary Rose herself became the Oxford society’s President. 

On the Evolution of the Northwest Coast Indian Communities (A Soviet-American Discussion and Its Sequel)

2021 ◽  
Vol 17 (51) ◽  
pp. 141-172
Author(s):  
Igor V. Kuznetsov ◽  
Keyword(s):  
The United States ◽  
Northwest Coast ◽  
Franz Boas ◽  
Class Theory ◽  
High Profile ◽  
Public Campaign ◽  
Political Views ◽  
The Social ◽  
The Right ◽  
High Degree

The article is devoted to the discussion among Soviet and U.S. scholars about the social organization of the Indians of the Northwest Coast of North America. In the classic textbooks on “primitive history”, the Indians of this region—the Tlingit, Haida, Tsimshian and Kwakwaka’wakw (Kwakiutl)—are mentioned as examples of a high degree of social differentiation based on a (fishing and maritime) foraging economy and even as instances of pre-state structures. The proposed concepts were, to varying degrees, determined by external factors: personal political views, high-profile events, or government pressure. In 1897, Franz Boas recognized the potlatch ceremony—demonstrative exchanges of gifts and destructions of surplus, a practice exotic to Europeans—as an analogue of a credit operation. This interpretation, not empirically substantiated, originated from a public campaign to legalize potlatch. In the 1930s, Julia Averkieva, a Soviet intern of Boas, interpreted some fragments of her mentor’s teaching through the Marxist class theory framework, shifting the emphasis from potlatch to slavery: the Northwest Indians allegedly began the transition to slavery from a classless system in which the potlatch was an instrument for preserving property equality. Averkieva’s interpretation became canonical in the USSR, whilst also finding some reception outside the socialist camp. In the United States, relativistic cultural interpretations dominated; domestic evolutionary Marxist models were marginal and were not rooted in the Soviet tradition. However, after the collapse of the USSR, they also became part of the research mainstream, being criticized not only from the right, but also from the left—from anarchist viewpoints.

Founder of the Kazan Dermatological School, Professor A.G. Ge (To the 150th anniversary of his birth)

1993 ◽  
Vol 74 (2) ◽  
pp. 171-173
Author(s):  
G. G. Nureyev ◽  
R. Z. Zakiev
Keyword(s):  
Medical Faculty ◽  
French Language ◽  
Venereal Diseases ◽  
Language Teacher ◽  
150Th Anniversary ◽  
The Family ◽  
The Right ◽  
Compulsory Subject

The teaching of skin and venereal diseases as a compulsory subject at the medical faculty of the Kazan Imperial University began in 1872. Previously, this discipline was considered optional and its teaching was entrusted to obstetricians-gynecologists, surgeons and other specialists. The first head of the department was Alexander Genrikhovich Ge. He was born on October 26, 1842 in the family of a French language teacher at the 1st Kazan gymnasium. In 1865 he graduated from the Faculty of Medicine of Kazan University with the right to present a thesis for the degree of Doctor of Medicine. From the fall of 1866 A.G. Ge worked in the Kazan provincial zemstvo hospital, where he headed the women's syphilitic department. In 1868, Alexander Genrikhovich defended his thesis for the degree of Doctor of Medicine and in 1870 was sent abroad at the expense of the Ministry of Iarod Education for 2 years abroad to study skin and venereal diseases. During this time, he worked in the clinics of the largest dermatologists - Gebra, Siegmund and Zeisl, in the laboratories of Stricker and Brcke (in Vienna and Wrzburg).

The Spanish Tebeo

2009 ◽  
Vol 2 (2) ◽  
pp. 253-276 ◽  
Author(s):  
Viviane Alary
Keyword(s):  
Civil War ◽  
Mass Medium ◽  
Special Kind ◽  
Comic Strip ◽  
Spanish Translation ◽  
Spanish Society ◽  
Cultural Phenomenon ◽  
Bande Dessinee ◽  
Cultural Legitimacy ◽  
Comic Art

It seems difficult to speak about comic art in Spain without considering what tebeos mean to Spaniards. This term is not simply a Spanish translation of bande dessinée. It refers to a special kind of comic strip aimed at children, which appeared in the late 1920s. Tebeos were the only available mass medium in Spain after the Civil War (1936-1939). In this contribution we want to analyse tebeos as an editorial, social and cultural phenomenon, with the aim of demonstrating that 'tebeo-culture' survived even after the collapse of the 'tebeo-industry' in the 1970s and 1980s. In addition, we will examine the question of the cultural legitimacy of comic art in Spanish society.

Pioneers: Comic Art Exhibitions, 1930–1967

2020 ◽  
pp. 63-65
Keyword(s):  
World War Ii ◽  
Comic Strip ◽  
World War ◽  
Art Exhibitions ◽  
Historical Trends ◽  
Museum Exhibitions ◽  
Comic Art

In this interstitial introduction, art historian Kim A. Munson establishes a chronology of museum exhibitions of original comic art between 1930 and 1967, summarizing the importance of historical trends (the popularity of comics exhibits during World War II) and pioneers like Milton Caniff and the National Cartoonist Society. This chapter contextualizes M.C. Gaines’ 1942 Print magazine article about the important touring exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance. This chapter introduces Alvaro de Moya and Pierre Couperie, who were the founders of influential fan groups that led to breakthrough exhibits in Brazil (1951) and in France (1967).

Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object

2020 ◽  
pp. 33-62
Author(s):  
Andrei Molotiu
Keyword(s):  
Art History ◽  
Comic Book ◽  
Comic Strip ◽  
Indiana University ◽  
Senior Lecturer ◽  
Aesthetic Object ◽  
Full Size ◽  
Comic Art ◽  
History Department ◽  
Born Again

Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, explores the formal characteristics of comic art and the fragmentation caused by showing framed pages that were originally created for publication and separated from their indigenous context, wondering if this separation is ultimately an act of creativity or an act of violence. This chapter explains white-out, margin notations, and how the eye is drawn to different things in an image when it’s isolated on the wall. In this 2006 essay, he focuses on the art of Jack Kirby, Ivan Brunetti’s Schizo 4, Metamorpho, Joe Palooka, Archie, Josie, Tom and Jerry, and "Sooper Hippie.” In this 2018 update to his 2006 essay, Andrei Molotiu, the Senior Lecturer in the Art History Department at Indiana University, Bloomington, returns to his analysis of the formal characteristics of original comic art as seen in exhibitions, exhibit catalogs, and high-end artist’s editions that faithfully reproduce full size comics originals, such as the IDW Artist’s edition of David Mazzucchelli’s and Frank Miller’s Daredevil: Born Again (images). Molotiu briefly discusses the proliferation of comic art exhibits and contrasts the experience of reading a full issue of Jack Kirby’s Kamandi on the wall at the Comic Book Apocalypse show at CSU Northridge and in print in an artist’s edition.

The Golden Path

Dune ◽  
2019 ◽  
pp. 115-117
Author(s):  
Christian McCrea
Keyword(s):  
Science Fiction ◽  
History Of Science ◽  
History Of ◽  
The Right ◽  
Golden Path

This chapter examines the unexpected longevity of David Lynch's Dune, a film that was for many deemed dead on arrival. It assesses Dune's lasting legacy from absurd tie-in merchandise to incredible comic translations to the videogames that changed game history in significant ways. It also emphasizes how Lynch's Dune demands the attention like no other film as it unfolds ceremonially into a dream already in motion. The chapter discusses how Dune remains a focused, singular vision that startles and delights in its difference in the history of science-fiction cinema. It reviews every dashed hope and upraised hand of anguish that believed Dune's literary universe could be adapted if given the right conditions. It talks about how Dune represents so much to so many in search of parables of failure, promise, corrupt systems and ineffable creative possibility.

A Most Favorite Subject

2020 ◽  
pp. 136-140
Author(s):  
Jonathan R. Eller
Keyword(s):  
Science Fiction ◽  
Comic Strip ◽  
Genre Fiction ◽  
High Regard ◽  
Little Nemo In Slumberland

Bradbury’s fascination with genre fiction art resulted in “1982: A Helicon Year for the Artists of Science Fiction.” Chapter 19 goes on to describe how Byron Preiss assembled a range of well-known artists to illustrate a new collection of Bradbury stories, Dinosaur Tales. These included Gahan Wilson, Jim Steranko, Jean Henri Giraud, David Wiesner, and Overton Loyd. The chapter also explores Bradbury’s high regard for traditional poets Phyllis McGinley and Helen Bevington in the context of his second and third Knopf volumes of his own poetry. The chapter concludes with Bradbury’s ill-fated collaboration with Japanese producer Yutaka Fujioka, Roger Allers, and Chris Lane on the juvenile animated feature, Little Nemo in Slumberland, inspired by the comic strip character by Winsor McCay.

1989 People's Movement

2014 ◽  
Author(s):  
Jeffrey Wasserstrom ◽  
Yidi Wu
Keyword(s):  
Code Word ◽  
Hunger Strike ◽  
Political Liberalization ◽  
Design Elements ◽  
Tiananmen Square ◽  
High Profile ◽  
Common Term ◽  
The Government ◽  
Local Students ◽  
The Right

The People’s Movement began in mid-April 1989, with gatherings of students in Beijing. They ostensibly turned out to mourn Hu Yaobang, a recently deceased Chinese Communist Party (CCP) official associated with reformist ideas, who had been General Secretary and Deng Xiaoping’s heir apparent as paramount leader until being demoted for taking a soft line on campus unrest in 1986–1987. The students used the mourning ceremonies to speak out on issues that concerned them, especially official corruption and nepotism. In later weeks, the struggle spread rapidly in geographical and social terms and increasingly became a fight for political liberalization and the right to protest. In Beijing, local students, who made Tiananmen Square their main protest site, were joined on the streets by intellectual, workers, and even sympathetic journalists and cadres, as well as by educated youths who streamed into the capital from other cities. By late April and May, very large crowds were filling Tiananmen Square, site of some of China’s most important political monuments, while smaller but still significantly sized crowds gathered at the central squares of other cities. The most dramatic events of the movement included a high-profile hunger strike by student leaders, which increased popular support for the protesters, and the creation of a “Goddess of Democracy” statue, which combined design elements from America’s Statue of Liberty with traditional Chinese features. The struggle ended in June with the government using force to put down demonstrations, after condemning the movement as an effort to create “turmoil” (a code word for Cultural Revolution-style chaos) backed by foreigners wishing to destabilize China. The most significant repression took place in Beijing, where soldiers killed many protesters and bystanders—estimates of casualties range widely, but at least several hundred deaths occurred—on the streets near Tiananmen Square late on the night of 3 June and early in the morning of 4 June 1989. Common names for the upheaval include “Tiananmen Movement,” “June 4th Movement” (the most common term in Chinese language publications is Liusi, literally “Six Four”), “Democracy Movement,” “Beijing Spring,” and “1989 Student Movement,” but “People’s Movement” has two advantages. First, it underscores the multiclass, multilocale nature of the struggles and the repression (demonstrations in scores of cities, a massacre in Chengdu as well as Beijing); and it avoids giving the impression that the sole issue was “democracy” (anger at corruption and a desire for increased personal freedoms were also important).

Sign in / Sign up

Export Citation Format

Share Document