der weit über 80-Jährige in strömenden Regen der Veranstaltung bis zum Schluss bei. The presence of the oldest participant, Claude Levy, was moving; he first saw the light of day as Kurt Levy in Busenberg. Well over 80 years old, he remained standing upright in the pouring rain until the end of the event. From his own narrative in the film, and from an article about him in another German newspaper, Die Rheinpfalz, I learned a few new things about the family. It seems that Claude visited his parents twice in Gurs internment camp in late 1940 and 1941. He and his
every month to pick up his scant pay checks from the newspaper for which he freelances, to Heidelberg, where he finds himself as a tourist. This back and forth, which Shepherd has described as “helter-skelter,” is dizzying for the reader (Shepherd, 2012 : 59), but effectively conveys Nini's feelings of displacement and precariousness. It all builds up to the conclusion: “Tenía que volver” (Nini, 2002 : 197) (“I had to return”). Throughout the narrative, and regardless of his location, Nini gives the reader a sense of the social panorama. In the
This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.
This book is about two distinct but related professional cultures in late Soviet Russia that were concerned with material objects: industrial design and decorative art. The Russian avant-garde of the 1920s is broadly recognised to have been Russia’s first truly original contribution to world culture. In contrast, Soviet design of the post-war period is often dismissed as hackwork and plagiarism that resulted in a shabby world of commodities. This book identifies the second historical attempt at creating a powerful alternative to capitalist commodities in the Cold War era. It offers a new perspective on the history of Soviet material culture by focusing on the notion of the ‘comradely object’ as an agent of progressive social relations that state-sponsored Soviet design inherited from the avant-garde. It introduces a shared history of domestic objects, handmade as well as machine-made, mass-produced as well as unique, utilitarian as well as challenging the conventional notion of utility. Situated at the intersection of intellectual history, social history and material culture studies, this book elucidates the complexities and contradictions of Soviet design that echoed international tendencies of the late twentieth century. The book is addressed to design historians, art historians, scholars of material culture, historians of Russia and the USSR, as well as museum and gallery curators, artists and designers, and the broader public interested in modern aesthetics, art and design, and/or the legacy of socialist regimes.
object which was by that point seen as either naively utopian or cynical.1 Meanwhile, the tendency towards studio craft and easel art forms among decorative artists grew completely apart from the goals of a changing Soviet economy. The KARPOVA 9781526139870 PRINT.indd 199 20/01/2020 11:10 200 Comradely objects comradely object lost its relevance even more with the disintegration of the Soviet Union and remains an incomplete project. This inquiry into the post-avant-garde biography of socialist objects presents an alternative to the two narratives of Soviet design
parents were small children when antisemitic pogroms in Eastern Europe obliged the families to travel west. Now I began to see both how interesting these lives had been, and how the memory of forced exile persists through the generations. Although I have some resistance to the notion of ‘second-generation’ Holocaust survivors (that is their children, assumed to inherit their trauma at one remove), I am entirely persuaded by Marianne Hirsch’s notion of ‘postmemory’. Postmemory characterizes the experience of those who grow up dominated by narratives that preceded their
as narratives of modern science as an essentially Western endeavor. The proper inclusion of the contributions of peoples from the Islamic world in such narratives becomes even more important when one takes into account the debates around the presentation of Islamic culture, and particularly Islamic art in museums (Norton-Wright, 2019 ; Bier, 2017 ; Junod et al., 2013 ). These debates and the lines of inquiry they have fostered, which are closely related to the idea of decolonizing the museum, have developed in the last two decades in response to growing
number of foreigners living in Italy (Fiore, 2017 : 3), which undermines narratives that frame Italy as simply transitioning from a country of emigrants to one of immigrants in the 1970s and 1980s. Before the citizenship laws of 1992 and the Bossi-Fini migration laws a decade later, Italy's history of emigration provided a reason to expect that Italy would be more welcoming than other European countries to immigrants. 3 In the introduction to his 2001 collection, ItaliAfrica: Bridging Continents
living in Prestwich, near Bury Old Road (David with aspirations one day to move to Alderley Edge in Cheshire). His story illustrates the development of the Jewish communities of Crumpsall, Prestwich and Broughton Park by midcentury. In a parallel narrative of mobility, Howard Spring’s fabulous creation of 1934, Rachel Rosing, devotes her life to escaping her origins in Cheetham Hill, through seduction and marriage. Later, on the spur of the moment, she decides to board a tram to Cheetham Hill. Austerity baby [ 93 ] [ 94 ] Why not once more? ... Probably, she
the aid of ‘Vita’ glass in the lounge, while one of its halls provided phototherapy during the winter. 105 In the Times supplement, readers encountered a mix of images of natural and artificial exposures, with little sense that one was necessarily better than the other ( Figs. 1.1 – 1.4 ). It makes for complicated (visual) reading and resists the temptation of writing what Jordanova called a ‘seductive’ and ‘glamorised’ narrative. 106 Her