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Key texts of modern African literature with an emphasis on the history of post-colonial writing. Release Seven of this online edition includes over 230 volumes of fiction, poetry, drama and non-fictional prose, including works by Chinua Achebe, Ama Ata Aidoo, Steve Biko, Buchi Emecheta, Nadine Gordimer, Bessie Head, Doris Lessing, Nelson Mandela, Dambudzo Marechera, Christopher Okigbo, Okot p'Bitek and Tayeb Salih.
Indexes journals in the sciences, social sciences, and arts and humanities. Allows for cited reference searching. Includes Science Citation Index, the Social Science Citation Index, and the Arts & Humanities Citation Index. Search for specific articles by subject, author, journal, and/or author address, as well as for articles that cite a known author or work.
Holdings: Science Citation Index Expanded (SCI-EXPANDED)--1945-present, Social Sciences Citation Index (SSCI)--1956-present, Arts & Humanities Citation Index (A&HCI)--1975-present. Updated weekly.
tagged arts cities database hist history historyofcities humanities by cobine ...and 2 other people ...on 26-MAR-09
Mommert. Wilfried . "Wartime Germany: Concerts and cinema to the bitter end," Deutsche Presse-Agentur 19 Mar 1995. LexisNexis. 29 Nov 2008
Nazi Germany had a thriving arts and entertainment culture until all theaters were shut down September of 1944 as a step toward pursuing “total war.” Up until this point, the theaters held regular showings of films and concerts despite the fact that many were destroyed by Allied bombings. These theaters were in use until the Nazis were on the edge of defeat. Despite setbacks with the war and the continued bombings by the Allies, films were still made and shown up until the end of the war. Twenty eight films were works in progress when the war ended. Concerts were also still shown regularly. Thirty operas were ready for performance but never actually put on stage. Resources were still being allocated to put on new operas and films despite the fact that Germany was in "total war," and all resources were allocated to the war effort supposedly. Film and concerts were the main forms of amusement and diversion for the German people, and the Nazis felt that keeping the masses' minds diverted and happy was still important.
This article really shows the misguided priorities of the Nazis. Resources that could have been used for the war effort were misallocated to film production and concert staging. The Nazis were concerned with appeasing the masses, even though they were about to lose the war. Maintaining the support of the masses was a core value for the Nazis to attain and maintain their power, but if they lost the war, they would lose their power immediately. These efforts to keep the masses happy were completely pointless and wasteful. Goebbels proclaimed that he closed the theaters to put Germany on the track of “total war,” yet this obviously did not shut down the entertainment industry. The film Kolberg began production in 1942 and was not released until 1945 (Thompson and Bordwell 274). This film was the costliest of the Nazi cinema projects, and it was made at a time when Germany was losing the war and about to be defeated (Thompson and Bordwell 274). Goebbels even diverted 200,000 troops from battle to be used in Kolberg's production (Thompson and Bordwell 274). Overall, the Nazis wasted their resources on film and the arts during a critical time during the war when Germany could not afford it.
Thompson, Kristin, and David Bordwell. Film History An Introduction. 2nd. New York: McGraw Hill, 2003.
One crucial element in Blackmail is Hitchcock's use of art within the film. Not only his formal technique but also incorporating the arts into the plot of the film. He uses art within the film to further develop central themes, and in Blackmail specifically, the character as an object rather than a subject. In the film, the paintings and fine art works become an added character to the film. They witness the attempted rape, the murder, and, finally, the chase of the blackmailer in the British Museum. Their images comment on the action. The jester in Crewe's studio mocks not only Crewe but Alice especially. The jester's pointing finger and mocking stare add shame to the viewer. Shame to Crewe for raping women and shame to Alice for being a victim. The shame so affects Alice that she stabs it as well.
The jester as a representation of shame adds to the feminist interpretation of Blackmail. Hitchcock clearly points out and addresses the issue of shame in sexual abuse. By acknowledging Alice's shame and her aggression towards the portrait, Hitchcock empowers Alice.
Call#: Van Pelt Library HQ2044.U6 L56 2006
From Africa to Queens Waterfront, a Modernist Gem for Sale to the Highest Bidder
By WILLIAM L. HAMILTON
For anyone still looking for a house for the summer, something very exclusive is about to come up in Queens.
Tomorrow, the Maison Tropicale, a small aluminum-paneled house built in 1951 by Jean Prouvé, a French designer and the current court favorite of well-heeled contemporary art and design collectors internationally, is being opened to the public for preview in Long Island City. Christie's, the auction house, will offer it for sale on June 5. The presale estimate is $4 million to $6 million.
Call#: Van Pelt Library NX110 .P49
Call#: Van Pelt Library NX110.P4 G743
tagged arts culture directories non-profits philadelphia by laallen ...on 02-JAN-07
Gorman presents series of copyright cases and points to the discrepancy in the decisions in evaluating copyrightability. He argues such discrepancy is caused by the Court’s aesthetic determination or “value judgments” which often is “badly done and unsupportable.” He observes the history and pattern of copyright courts’ decisions regarding three areas of copyright law: determination of authorship, Visual Artists’ Rights Act of 1990, and fair use. With judgments on authorship, with original contribution at the heart of the issue, Gorman recognizes courts need to rely on practicing judicial restraint. Ever since Feist v. Rural, inconsistent standards of creative input, applied and interpreted differently by the each court, have created confusion and unpredictability in the courts. Three different standards are “minimal creativity,” “substantial creativity,” and “gross creativity." These applications vary with the nature of the court and also whether the nature of the work is original or a derivative of, such standards create no consistency in the way copyright decisions are written. Gorman argues since the statue, the Constitution and the Copyright Act, does not place a clause of “originality” and the confusion is created by courts’ “abuse” in making aesthetic standards, which creates more difficulty in judicial decisionmaking. With issues regarding VASA and fair use, he recognizes the necessity of aesthetic determination, in part, for the statute requires such determinations. With VASA, the law requires making determination in quality of the artists, for the heart of matter is to outlaw “distortion, mutilation, or modifications” of the work. Gorman argues lastly with in regards to fair use that the focus of the courts has been whether the artist has made a “transformative” use of the copyrighted work, and because the decisions in the past have been heavily reflecting the artistic values and tastes of the judges, such aesthetic determinations have been inconsistent and futile but it becomes necessary inherently due because Copyright Act requires such determinations. Gorman concludes at the end that aesthetic judgments are sometimes an abuse and sometimes a necessity, but so far in that the aesthetic determination is built into the statute given its ambiguities.
In prescription to the problem, he proposes different level of copyright protection depending on the creative input displayed by the work. Also in determining artistic status of works, courts should rely not on their aesthetic decisions, but opinions of professionals. Lastly in determination “transformative” change in the copyrighted work, the new work should be “altered in substance” as to stand on its own to show “independent creativity.”
The article relates directly to my topic and showcases how through time the aesthetic determinations, whether necessary or not, have failed to create a consistent set of copyright standards. This will provide great support my thesis in illustrating how something as rigid as the law, should not be based heavily on thoughts subjective and variable as aesthetic determinations.
tagged aesthetics arts case_study copyright role_of_judiciary by hwayk ...on 06-DEC-06