Intellect is delighted to announce that the new issue of Fashion, Style & Popular Culture 4.2 is now available.
For more information about this issue, click here or email email@example.com.
This special issue of FSPC focuses on ‘Fashion & Appropriation’. Appropriation is a complex political and ethical discussion with many nuances and layers that require careful and critical unpacking; the articles in this special issue approach this complexity from different angles and perspectives. Guest Editors, Denise Nicole Green and Susan B. Kaiser, hope that this issue will encourage readers to think about appropriation in new ways, engage with its various definitions and articulations, and consider the impact appropriation has on communities, identities, economies, and aesthetics.
Articles within this issue include (partial list):
Authors: Jennifer Ayres
Page Start: 151
This articles focuses on the fashion industry’s relationship to vintage garments as design inspiration and product prototype. It analyses how appropriation of vintage is rationalised in standard industry practice and how ethical boundaries are drawn and maintained between ‘appropriation’ and ‘inspiration’ in the creative process. When talking with designers the discussion of inspiration and appropriation quickly becomes a personal and subjective discussion about the integrity of the design process and labour. Interns and employees in the industry were expected to knock-off other designs and designers while their own creativity was stifled and/or exploited. The central contradiction that emerges from this research is how an industry known for its creativity and ingenuity – notably an industry that polices copyright infringements around the world – routinely engages in practices of forgery that weaken both its claims to authorship and the lucrative status of designer-as-artistic-genius. Ayres argues it is crucial to explore these issues through the situated and local everyday practices in the fashion industry in order to understand how these contradictions are navigated and even made profitable.
Authors: Tara Tierney
Page Start: 179
The purpose of this article is to explore how ‘dress’ from the 1960s’ American Hippy movement was appropriated and adapted by women in the ‘British Acid House’ music culture. The emergence of ‘Acid House’ transformed nightclubs from ‘places for drinking and looking good but not for dancing’, into a space where ravers would dance through the night fuelled by the drug, ecstasy. These changes manifested in a number of ways, most notably, through transformation of outward appearance, which included appropriation of the Hippy movement and ‘First Summer of Love’ in 1967. Similarities between Acid House and the Hippy culture were so akin that this early period of House music became known as ‘The Second Summer of Love’.
Intellect is thrilled to announce that the new issue of Film International 14.3&4 is now available.
This issue of FINT focuses on the ‘Lives and Deaths of the Yuppie on the American Screen’. As Editor-in-Chief Daniel Lindvall explains, the essays in this issue examine the history of the yuppie on the American screen, from the cusp of the Reagan era to the current aftermath of the Great Recession of 2007-2009. The starting point is the contention that the yuppie remains a key character type of the neoliberal era – in life as well as on screen – pronouncements of his (or more rarely her) death notwithstanding. This is so not least because the defining personality traits of the yuppie – superficial individualism, empathy deficit disorder, conspicuous consumption – perfectly embody the ethos behind the ongoing, ever-deepening and widening marketisation of society and the accompanying and seemingly unstoppable increase in inequality.
Articles within this issue include: ‘Rich and Strange’ by Barry Keith Grant, ‘Working Girl and Second-wave Feminism’ by Rosie White, and ‘Character and Capital in the Wall Street Films of Oliver Stone’ by Carl Freedman.
Intellect is delighted to announce that the new issue of Critical Studies in Men’s Fashion 4.1 is now available.
The theme of this special issue of CSMF is ‘Exhibiting Masculinity’ and focuses on museum exhibitions of men’s fashion and dress as well as past and current museum projects interrogating the subject of menswear.
For more information about this issue, please click here or email firstname.lastname@example.org
Articles within this issue include (partial list):
Authors: Elizabeth Selby
Page Start: 31
Moses, Mods and Mr Fish: The Menswear Revolution was an exhibition staged from March to June 2016 at the Jewish Museum London. It explored the contribution made by Jewish-owned companies to the development of high street menswear in Britain from the mid-nineteenth to the late twentieth century. This article will explore the challenges faced by a non-fashion museum in developing the exhibition, such as the difficulties in sourcing historical ready-to-wear clothing and associated objects for display from museums, company archives and private lenders. The museum’s objective of creating an exhibition with broad appeal will also be discussed, particularly the aim of attracting a young audience interested in fashion and design through a particular approach to exhibition design, interpretation methods and marketing.
Authors: Stephanie Pfennigwerth
Page Start: 63
In 2013 the Museum of Australian Democracy acquired a bicorn hat and a tattered, stained coatee: the last surviving components of the first-class civil uniform of Australia’s first prime minister, Sir Edmund Barton (1849–1920). Sir Edmund was a Privy Councillor and wore this uniform at the Coronation of Edward VII in London in 1902. He also wore it at a number of other events including an investiture ceremony, which The Australasian reported, ‘was like a fancy-dress ball, in which the men were the chief figures’. This article discusses the process and deliberations surrounding the preparation of Sir Edmund’s uniform and its narrative for exhibition. It documents how historical and conservation research into the provenance and materiality of the uniform created the basis for an examination of Imperial dress protocols and practises, and Australia’s ties to the British Empire. The article will also discuss how the uniform – unravelled, deconstructed, stabilised and reassembled – provided intimate evidence of under-explored aspects of Sir Edmund’s personality, activities and contribution to Australian social and political history.
Authors: Diane Maglio
Page Start: 79
Adam in the Looking Glass was the first exclusively menswear exhibition in America. The Costume Institute of the Metropolitan Museum of Art, under the direction of Polaire Weissman, displayed more than 600 years of men’s finery arranged among paintings, decorative arts and furniture. The display techniques included garments in glass cases, dressed figures arranged in tableaux, and retail store mannequins dressed in menswear of the future. Twelve American womenswear designers were invited to create, for display in the exhibition, garments they proposed as tomorrow’s menswear. This article provides a brief historical overview of ‘Adam in the Looking Glass’, which ran from 30 January 1950 to 30 July 1950.
Intellect is delighted to announce that the new issue of Punk & Post-Punk 5.3 is now available.
Articles within this issue include (partial list):
Authors: Francis Stewart
Page Start: 227
Veganism and punk rock have gone hand in hand since the 1980s, and it is a relationship that is arguably best understood in conjunction with versions of anarchist politics of intersectionality. While rejecting the argument for animal ‘rights’ as a form of quasi-religion (contra Lowe in Implicit Religion, 4.1: 41−60) this article will seek to demonstrate through interviews that the analytical framework of Implicit Religion can be applied to animal advocacy within various iterations of punk to better understand the motivations of activists. It will demonstrate that considering animal ‘rights’ as a quasi-religion diminishes both religion as a concept and the place of activism in the lives of those interviewed. Furthermore it will explore the possibility that such behaviours and attitudes demonstrate the potentiality within anarchism and punk to look inward for experiential insights and connections. As ‘rights’ is a contentious term for many anarchists, because of the issue of enforceability this article shall be using the phrase animal advocacy.
Authors: Lucinda Strahan
Page Start: 281
In his literary manifesto Reality Hunger, David Shields refers to an emerging movement of ‘reality-based art’ whose characteristics include ‘a deliberate unartiness, “raw” material, seemingly unprocessed, unfiltered, uncensored, and unprofessional […] Randomness, openness to accident and serendipity, spontaneity; artistic risk, emotional urgency and intensity’. This grab-bag of anti-art processes and aesthetics is part of an ‘as-yet-unstated’ contemporary literary mood urgently needed, Shields argues, to refresh the moribund star-machine that is literary culture. In its ‘hunger’ for something more ‘real’ in literature, Shields’ manifesto speaks clearly to punk sensibilities without ever saying ‘punk’. This article will trace the unstated affinity between Reality Hunger and punk processes, aesthetics and attitude, and in the process uncover an angry punk germ in the burgeoning movement of contemporary nonfiction writing to which Reality Hunger speaks directly. In doing so, it will contribute a new strand of enquiry to the question of how we understand and define punk literature, opening these questions onto the territory of literary nonfiction.
Intellect is delighted to announce that the new issue of Journal of Interdisciplinary Voice Studies 2.1 is now available.
Articles within this issue include (partial list):
Authors: Joshua Hill
Page Start: 7
Kenneth Burke’s idea of ‘eloquence’ provides a useful theory for understanding the various possible impacts of voice in advertising and branding. Burkeian ‘eloquence’ is defined as the right choice and arrangement of linguistic details that best meet the formal requirements emerging in a particular culture and society from the underlying forms common to all people through our common physical, psychological, and linguistic nature as humans. Here, this theory is explained and distilled into a spectrum that stretches between textual/vocal products that centre on a rational symbolsystem and textual/vocal products that meet human metabiologic demands for eloquent form leading to moments of aesthetic transcendence. Also discussed are the ethics of using for capitalistic purposes our human bent towards the ‘beauty and joy’ of transcendent language.
Authors: Ellen Mareneck
Page Start: 45
Children who stutter (CWS) face enormous challenges: from bullying and peer rejection to embarrassment, shame and despair. Often these young people shut down and retreat into silence. The Stuttering Association for the Young (SAY), a nonprofit organization in New York City, is dedicated to improving the lives of CWS. SAY uses the performing arts, speech therapy and a sleep-away camp to create community, nurture the individual, and advocate for CWS through education and performance. This article examines SAY as a therapeutic model for Children and Adolescents Who Stutter. SAY’s three-pronged approach of empowerment, education, and support provides CWS with a much-needed community in which they find self-acceptance, communicative confidence, and the courage to achieve their goals.
Authors: Gelsey Bell and Pauline Oliveros
Page Start: 67
In this conversation from 2014, composer Pauline Oliveros, one of the most important figures in American experimental music, provides insight into her relationship with the voice and when in her career it was most pivotal for her compositional development. Oliveros touches on her 1961 choral piece ‘Sound Patterns’, her ‘Sonic Meditations’, the works she performed for voice and accordion in the 1970s and 1980s, ‘Deep Listening’, and the late operas that she made with her partner, vocalist and poet Ione.
JAWS Call for Papers for Volume 3 Issue 1&2
Submission deadline: Monday 7 May 2017
Editors: Francesca Peschier, Robert Gadie and Ruth Solomons
JAWS is the only academic arts journal run by and dedicated to postgraduate students (and those who have recent graduated). It has published work by students from India, China, Australia, North America, Canada and the UK, and maintains an international peer review network.
The editors are seeking:
- Theoretical and discursive essays up to 5000 words.
- Critical reviews of events, exhibitions or performances up to 3000 words.
- Visual essays about art practice (demonstrating a research approach, and if possible responding to the journal format), including images or stills, plus up to 1000 words.
- All work must be prefaced with a 100 word abstract and 6-8 keywords.
- Please include your university affiliation, full name, course and year or graduation.
- All work must use Harvard referencing, following Intellect House Style.
- For full submission guidelines please refer to www.jawsjournal.com/submissions.
Volume 1 Issue 1 is available for free at: http://www.ingentaconnect.com/content/
Guest editorials from previous issues are also available for free, including those by Dr Sophie Hope (Birkbeck), Dr Inger Mewburn (the Thesis Whisperer) and Joseph Heathcott (The New School of Design).
For all inquires please email email@example.com or firstname.lastname@example.org.
Intellect is delighted to announce that the latest issue of Clothing Cultures 3.3 is now available.
This special issue of Clothing Cultures focuses on Dress Culture in Imperial Russia from the reign of Peter the Great (1682-1725) to the October Revolution of 1917. This issue intends to explore dress as a cultural and social phenomenon within the imperial historical framework and show how the production and circulation of material artefacts in cultural and artistic texts resulted in the construction of meaning. Authors in this issue demonstrate how dress was received in a variety of cultural contexts, in which it manifested aesthetic, ideological and social ideas. They employ methodological frameworks taken from the fields of structuralism and semiotics, as well as theories of reception and performance. The issue is organised in a historical progression from the eighteenth to the very beginning of the twentieth century.
Articles within this issue include (partial list):
Authors: Victoria Ivleva
Page Start: 171
This article explores the ‘cultural biography’ of the caftan, a garment, which underwent significant changes as a part of Peter I’s urban clothing revolution. The article discusses the evolution of the caftan and changes in its functions and meanings, its historical, social and literary modes of circulation and the semiotic value it acquired in the eighteenth-century clothing system, and more broadly in eighteenth-century Russian culture. As a key garment of the Petrine dress reforms, the caftan became a material symbol of eighteenth-century modernizing processes and was often employed by writers to comment on social and cultural policies and practices. When the caftan (as part of a uniform) started to be associated with state control and the infringement on individual freedom, it was replaced by the dressing gown, which became a symbol of internal peace, freedom and creativity in literature and cultural life.
Authors: Svetlana A. Amelekhina and Daniel Green
Page Start: 191
Russian rulers introduced numerous dress reforms in the imperial period, transforming the appearance of state institutions and thus the image of Russia and its elite. This article traces the origins and development of ‘Russian dress’, a stylised version of female Russian folk costume introduced to the Russian court by Catherine the Great (1762–1796) and worn, in various forms, from the 1770s to 1917. It examines the symbolic role ‘Russian dress’ played in shaping the image of the ruler, Russia’s relationship with the West, and shifting notions of Russianness at home and abroad.
Intellect is delighted to announce that the new issue of JAWS: Journal of Arts Writing by Students 2.2 is now available.
Articles within this issue (partial list):
Authors: Petra Swais
Page Start: 93
This essay discusses the recent Egyptian revolution and the surge of art that materialised and consequently contributed to the fuelling and documenting of the demonstrations. Considering the urgency and immediate need to create in a coming together of a people, this is analysed against Arendt’s theories of revolution and reflected against ‘Opera from Balconies’, an experimental theatrical project that took place spontaneously in various neighbourhoods in cities across the Egyptian Delta. It discusses echo of hope through collective engagement from the space of Tahrir Square to the domestic neighbourhoods of the ‘Opera from Balconies’ project.
Authors: Julia Cunningham
Page Start: 105
This article is an enquiry into the meditative and unconscious processes of the mind. In critical thought there appears to be a gap where the art object has been elevated above the artist process. What has been lost is a study into the psychoanalytic, creative and meditative qualities of both written and creative systems. This article draws from theories of meditative practice, as well as contemporary practitioners including Marina Abramović and Zhang Huan. The aims of this study are to augment process, lead discussion and create discourse in the context of meditative, performative and immaterial dialogues.
Authors: Elizabeth Monahan
Page Start: 127
Our way of seeing and interpreting the visual world are a highly personal and diverse experience. These are the cornerstones of image making, the results of which can offer thought-provoking glimpses into another person’s view of the world, and can make us question our own. This reflective article grapples with the process of creating drawn interpretations of visual perception, specifically that of facial pareidolia, and attempts to share this ‘felt’ process. However, although an interest in pareidolia initiated the study, other concerns emerge: the process of looking and how drawing can navigate issues of time, space and movement.
Intellect is delighted to announce that the new issue of Metal Music Studies 3.1 is now available.
Articles in this issue include (partial list):
Authors: Catherine Hoad
Page Start: 5
This article explores the creation and circulation of online fan fiction about heavy metal performers. Heavy metal fan fiction, which is overwhelmingly created and consumed by young women, allows girls not only to actively assert themselves within this form of music fandom, but also to renegotiate hegemonic codes of hyper-heterosexual masculinity within heavy metal discourses. The queering of metal masculinity through slash (male/male) fiction further demonstrates how such practices deconstruct heavy metal’s gender norms and actually slash the rigid strictures of metal masculinity in the process. These constellations of sexuality, gender and metal fandom have thus enabled girls to redefine their own resistant spaces within a masculinist subculture.
Authors: Benjamin Hedge Olson
Page Start: 47
This article explores the religious dimensions of the metal scene in the Hawaiian Islands. While most scenes are large enough or have enough access to external scenes to segregate overtly Christian metal from metal that is hostile to Christianity, the metal scene in Hawai‘i must accommodate a wide range of religious perspectives as a result of its small size and geographic isolation. Bands that glorify Satanism or are deeply critical of Christianity must share stages with aggressively evangelical bands, creating significant discursive tension within the scene. As in metal scenes across the globe, the metal scene in Hawai‘i is preoccupied with religion in a variety of ways. How this religious preoccupation play itself out reflects local tension, hostilities and anxieties within the scene in question.
Authors: Justin J. Roberts
Page Start: 63
Heavy metal has drawn inspiration from literature almost from the genre’s inception. Iron Maiden has fully embraced literary allusion and adaptation in its songwriting approach. This article examines one of the band’s most ambitious adaptations, ‘Rime of the Ancient Mariner’ (1984) and the unique ways the band adapts Samuel Taylor Coleridge’s poem. Lyrically, songwriter Steve Harris conflates both Coleridge’s poem and subsequent glossing, joining the two elements to present the tale. Additionally, the members of Iron Maiden compose a lengthy song with numerous movements, the different musical themes working with the tale’s textual themes to deepen and complicate the adaptation, interpreting not just the words but also the underlying moods and philosophical and narrative themes of Coleridge’s texts in the song.
Intellect is delighted to share a selection select of abstract articles from the forthcoming, inaugural issue of the Indian Theatre Journal:
Homeland as ‘Beloved’: Translating viraha for (post)colonial contexts
Authors: Cynthia Ling Lee
This article discusses how Pallabi Chakravorty’s Asun der and Cynthia Ling Lee’s fish hook tongue, two contemporary works by kathak-trained choreographers, intervene in the nationalist discourse surrounding classical Indian dance by translating the aesthetic concept of viraha for politicized (post)colonial contexts. The two works refuse to perform Indian nationalist representations of kathak that uphold respectable Hindu femininity imbued with the Orientalist weight of timeless, immutable ‘tradition’. Instead, Asunder and fish hook tongue depart from classical practice and Indian nationalist representations of kathak by replacing the traditional Beloved of kathak abhinaya with a new love object: the troubled, (post)colonial homeland. I draw on Svetlana Boym’s theorizations of nostalgia to argue that these two works, which are grounded in critical histories rather than timeless myth, reimagine viraha as critical reflective nostalgia, as the impossible longing of a diasporic subject for union with a broken homeland. Asunder addresses the Partition of India by evoking longing for an undivided India that interweaves Muslim and Hindu influences, while fish hook tongue re-territorializes and reconfigures viraha as the visceral longing to speak one’s mother tongue of Taiwanese against the silencing forces of colonization and assimilation.
Grotowski and the Indian tradition
Authors: Maria Krzysztof Byrski
The question of Grotowski’s Indian affiliations in his theatrical experiments is long discussed. In the article presented, an attempt is made to tackle this problem. What absorbs Grotowski into the Indian tradition is a question that remains still fascinating in many ways. My conclusion is that it was first of all Grotowski’s fascination with the Indian spirituality as personified by Ramana Maharishi of Arunachala that made him especially sensitive to what the Indian culture could offer and not so much his acquaintance with the Indian theatre tradition, which was rather fragmentary and occidental. While travelling in India, he was more interested in the religiously motivated performances of the Bauls of Bengal than in regular theatre, neither classical nor modern.
Rabindranath Tagore and the Bauls: Representation and performance of Bauls as sociopolitical actors
Authors: Sukanya Chakrabarti
This article reveals the relationship between Rabindranath Tagore and the Bauls against the backdrop of the politics of nationalism between the late nineteenth and the early twentieth century in Bengal. Tagore’s works – including novels (Gora and Ghare Baire), play, Phalguni and songs composed between 1900 and 1920 – are thoroughly influenced by the ideologies of Bauls, whose liminal identities (of being in the world and yet outside of it) play a significant part in the formation of his political, philosophical and spiritual identity. Tagore’s subsequent popularity amongst the middle-class bourgeois Bengalis, in turn, shapes the representation of Bauls more as political rather than merely spiritual, musical or cultural performers of Bengal. From a marginal and ‘shameful’ social positionality, Tagore’s portrayal of Bauls transforms them into political figures and agents of self-reflection, reform and covert resistance to hegemonic powers of control and domination through their world-view, performance and lifestyle.