Visar resultat för..."Intellect Books"

This book looks at the position of women in the media in capitalism and socialism using ecofeminist lenses. It argues that when the position of women in the media in capitalism is at stake, women suffer from discrimination, structural barriers, lack of recognition and a masculine way of thinking across countries whereas in socialism women did not suffer from the lack of recognition but they did suffer from dual expectations, which placed a burden on them and enabled the return of patriarchal discrimination with the change of regimes and this leads to the notion of masculine thinking that underpinned socialist regimes too.

Whilst it is obvious from existing research, as well as chapters in this book, that socialist regimes had more respect for women, it is clear that they were also underpinned by a masculine thought to an extent, which resulted in a double burden on women in society and this was mirrored by the media.

Therefore, the book argues that the new socialism is needed, the one which will take into consideration patriarchy in all of its elements and include not just policies on equal pay and equal opportunities in the organisation but also has active women’s voices in designing policies that last and that makes an impact on equality in all of its social segments.

Contributions from Nikolina Borčić, Ovidiana Bulumac, Joseph Nwanja Chukwu, Carla Cruz, Maria Cunha, Ivana Čuljak, Ivona Čulo,  Béatrice Damian-Gaillard, Elena Díaz, Sanita Nwakpu Ekwutosi, Barbara Henderson, Bethany Fenner, Mirela Holy, Lisa Makarchuk, Anka Mihajlov Prokopović, Chinedu Jude Nwasum, Jude Nwakpoke Ogbodo, Eugénie Saitta, Paloma Sanz-Marcos, Nataša Simeunović Bajić, Salomé Sola-Morales, Martina Topić, Hanne Vandenberghe, Lea Vene, Marija Vujović, Belén Zurbano-Berenguer, Batya Weinbaum.

This book looks at the position of women in the media in capitalism and socialism using ecofeminist lenses. It argues that when the position of women in the media in capitalism is at stake, women suffer from discrimination, structural barriers, lack of recognition and a masculine way of thinking across countries whereas in socialism women did not suffer from the lack of recognition but they did suffer from dual expectations, which placed a burden on them and enabled the return of patriarchal discrimination with the change of regimes and this leads to the notion of masculine thinking that underpinned socialist regimes too.

Whilst it is obvious from existing research, as well as chapters in this book, that socialist regimes had more respect for women, it is clear that they were also underpinned by a masculine thought to an extent, which resulted in a double burden on women in society and this was mirrored by the media.

Therefore, the book argues that the new socialism is needed, the one which will take into consideration patriarchy in all of its elements and include not just policies on equal pay and equal opportunities in the organisation but also has active women’s voices in designing policies that last and that makes an impact on equality in all of its social segments.

Contributions from Nikolina Borčić, Ovidiana Bulumac, Joseph Nwanja Chukwu, Carla Cruz, Maria Cunha, Ivana Čuljak, Ivona Čulo,  Béatrice Damian-Gaillard, Elena Díaz, Sanita Nwakpu Ekwutosi, Barbara Henderson, Bethany Fenner, Mirela Holy, Lisa Makarchuk, Anka Mihajlov Prokopović, Chinedu Jude Nwasum, Jude Nwakpoke Ogbodo, Eugénie Saitta, Paloma Sanz-Marcos, Nataša Simeunović Bajić, Salomé Sola-Morales, Martina Topić, Hanne Vandenberghe, Lea Vene, Marija Vujović, Belén Zurbano-Berenguer, Batya Weinbaum.

The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border, and released on a tiny independent record label, became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this ‘socialist’ country have one of the most vibrant punk scenes in the world?

Gloucester, England, 1981; multi-racial, teenage street-punk band, Demob, recorded and released what would become their best known and most enduring song, No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived, punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set, the lyrics were either a howl of rage at the injustice, a wail at the loss, or a love-song to an era.

More than three decades later, the author – and Demob’s bass player in 1981 – set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era, through the disintegration and wars, forced displacements and permanent exiles, to today’s turbulent ‘reconstruction. Who were ’Tito’s punks’ and who are they now?

An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present, seen through the unlikely lens of punk and punk rockers. Part travelogue, part history the book is both, and neither, of those things. Rather, it is a mural and soundtrack of a journey through a time and place which no longer exists.

The latest addition to the Global Punk series from Intellect.

The book traces the story of how a song recorded in 1981 by a young punk rock band from a cultural backwater on the English-Welsh border, and released on a tiny independent record label, became famous in a Yugoslavia formed in the image of Marshall Tito? Why was it 30 years before the members of the band found out? How did this ‘socialist’ country have one of the most vibrant punk scenes in the world?

Gloucester, England, 1981; multi-racial, teenage street-punk band, Demob, recorded and released what would become their best known and most enduring song, No Room For You. A rasping vocal told the story of the 1979 closure of a short-lived, punk rock venue at a disused motel on the edge of the provincial city. Depending on your mind-set, the lyrics were either a howl of rage at the injustice, a wail at the loss, or a love-song to an era.

More than three decades later, the author – and Demob’s bass player in 1981 – set out to follow the song across a country that no longer exists. On the road he heard the life stories of the heroes of Yugoslavian punk and the punks themselves; from the Tito era, through the disintegration and wars, forced displacements and permanent exiles, to today’s turbulent ‘reconstruction. Who were ’Tito’s punks’ and who are they now?

An unvarnished but also affectionate portrait of Yugoslavia in the years before its demise through to the present, seen through the unlikely lens of punk and punk rockers. Part travelogue, part history the book is both, and neither, of those things. Rather, it is a mural and soundtrack of a journey through a time and place which no longer exists.

The latest addition to the Global Punk series from Intellect.

Bernhard Lang: Critical Guides to Contemporary Composers offers a critical guide and introduction to the work of Austrian composer Bernhard Lang (b. 1957). It identifies the phenomenon of repetition as a central concern in Lang’s thinking and making. The composer’s artistic practice is identified as one of ‘loop aesthetics’: a creative poetics in which repetition serves not only as methodology, but also as material, language, and subject matter.The book is structured around the four central thematic nodes of philosophy, music, theatre, and politics. After introducing Lang as a composer whose work is thoroughly influenced by philosophical thought, the book develops a typology of musical repetition as it is explored and activated in Lang’s oeuvre.Pointing towards the several repetitions within the performance of Lang’s works, the book explores the heavily trans-medial nature of the repeat across domains such as literature, dance, and theatre. Finally, the book investigates Lang’s use of textual quotation and musical borrowing.Christine Dysers is a musicologist specialising in contemporary music aesthetics. Her research centres around repetition, politics, absence, the liminal, and the uncanny. This is the first full-length study of the works of Bernhard Lang and is a new volume in the Critical Guides to Contemporary Composers series from Intellect.

Bernhard Lang: Critical Guides to Contemporary Composers offers a critical guide and introduction to the work of Austrian composer Bernhard Lang (b. 1957). It identifies the phenomenon of repetition as a central concern in Lang’s thinking and making. The composer’s artistic practice is identified as one of ‘loop aesthetics’: a creative poetics in which repetition serves not only as methodology, but also as material, language, and subject matter.The book is structured around the four central thematic nodes of philosophy, music, theatre, and politics. After introducing Lang as a composer whose work is thoroughly influenced by philosophical thought, the book develops a typology of musical repetition as it is explored and activated in Lang’s oeuvre.Pointing towards the several repetitions within the performance of Lang’s works, the book explores the heavily trans-medial nature of the repeat across domains such as literature, dance, and theatre. Finally, the book investigates Lang’s use of textual quotation and musical borrowing.Christine Dysers is a musicologist specialising in contemporary music aesthetics. Her research centres around repetition, politics, absence, the liminal, and the uncanny. This is the first full-length study of the works of Bernhard Lang and is a new volume in the Critical Guides to Contemporary Composers series from Intellect.

This book explores how five community choirs construct and imagine collective identity formations in Northern Ireland. Original insight is provided through ethnographic research conducted between 2013-2018. Working with five choirs in disparate locations, with different repertoires and demographics resulted in the creation of an integrated comparison that drew out both diversity and commonalities of approach revealing the malleability of choral practice.The research is framed through communities of practice, a theory of learning through engaging with other people in a common endeavour. Research findings demonstrate how choirs re-imagine identity through the manner in which they organise, rehearse, and perform. Choirs develop a distinct choral identity and ethos highlighting both the musical and social importance of the community of practice. Research suggests that choirs re-imagine multiple conceptions of identities within their groups, including gender, later age, religious faith, inclusivity and ethnic diversity, that can both influence broader structures of community in the region, and be influenced by them.Community choral practice in Northern Ireland is under-researched. As such this book provides unique insight into how members of community choirs are attempting to transcend sectarian boundaries through their practice, developing academic understandings of identity formation, community music-making and choral practice.

This book explores how five community choirs construct and imagine collective identity formations in Northern Ireland. Original insight is provided through ethnographic research conducted between 2013-2018. Working with five choirs in disparate locations, with different repertoires and demographics resulted in the creation of an integrated comparison that drew out both diversity and commonalities of approach revealing the malleability of choral practice.The research is framed through communities of practice, a theory of learning through engaging with other people in a common endeavour. Research findings demonstrate how choirs re-imagine identity through the manner in which they organise, rehearse, and perform. Choirs develop a distinct choral identity and ethos highlighting both the musical and social importance of the community of practice. Research suggests that choirs re-imagine multiple conceptions of identities within their groups, including gender, later age, religious faith, inclusivity and ethnic diversity, that can both influence broader structures of community in the region, and be influenced by them.Community choral practice in Northern Ireland is under-researched. As such this book provides unique insight into how members of community choirs are attempting to transcend sectarian boundaries through their practice, developing academic understandings of identity formation, community music-making and choral practice.

In a world facing multiple existential crises, music might be seen as little more than a distraction. However, in this synthesis of ideas developed over a decade, a timely re-appraisal of the potential of musicing for human flourishing is presented, emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development. A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation, whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love, musicing is presented as a resource with the potential for facilitating ethical human connection.The humanistic values which are thereby materialised during musicing – love, reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice, drawing on the author’s professional praxis as a performer, educator, community musician, composer and researcher, in particular their experience of musician education at Sage Gateshead, Royal College of Music and Trinity-Laban Conservatoire in the UK.

In a world facing multiple existential crises, music might be seen as little more than a distraction. However, in this synthesis of ideas developed over a decade, a timely re-appraisal of the potential of musicing for human flourishing is presented, emphasising its role in the history of human evolution alongside its potential as a resource for sustainable development. A holistic philosophy of music is outlined which recognises the complex web of meaning which spreads across complementary musical dimensions of performance and participation, whilst emphasising the ‘paramusical’ benefits which arise from both. Highlighting the notion that the social bonds which arise from musicing share much of the neurobiological underpinnings of attachment and love, musicing is presented as a resource with the potential for facilitating ethical human connection.The humanistic values which are thereby materialised during musicing – love, reciprocity and justice – form the experiential grounds for inhabiting alternative social realities. The book addresses how such a holistic philosophy of music might be implemented in practice, drawing on the author’s professional praxis as a performer, educator, community musician, composer and researcher, in particular their experience of musician education at Sage Gateshead, Royal College of Music and Trinity-Laban Conservatoire in the UK.

Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti, street art, skateboarding, surfing, tattoos, hip hop, breakdancing, punk, lowriders, and custom culture. Based in San Diego, California, Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents.

The text presents a series of articles, essays, and personal reflections that explore the various dimensions of Tribal Streetwear, and how the impact of their designs continues to balance the precarious act of being relevant and responsible with their resources.

The book is divided into four sections.

Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear, a personal narrative of the founding of Tribal, and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern California inspired fashion.

Section 2 is a series of interviews with notable artists, musicians, and cultural tastemakers that have contributed toward street culture and Tribal. These include Mr. Cartoon (tattoo artist), RISK (graffiti artist), PERSUE (street artists), Mike Giant (tattoo artist), Dyse One (graffiti artist), Craig Craig Stecyk III (skateboard culture), Bob Hurley (surf culture), and the Beastie Boys (hip hop).

Section 3 includes a series of invited and peer-reviewed academic articles on distinct subjects within the street culture genre that further dive into the inputs and influences of Tribal Streetwear. They include breakdancing, surfing, skateboarding, graffiti, street art, tattooing, music (hip-hop/punk), lowriders, custom culture, and Chicano Studies.

Section 4 is a series of photo essays that capture the three decades of Tribal Streetwear and serves as a visual history of the brand and the evolution of its graphics. 

Tribal Streetwear is lifestyle streetwear brand that seeks to represent a variety of southern California sub-cultures that includes graffiti, street art, skateboarding, surfing, tattoos, hip hop, breakdancing, punk, lowriders, and custom culture. Based in San Diego, California, Tribal has strong Chicano roots in its aesthetic and spans the globe with retail stores on several continents.

The text presents a series of articles, essays, and personal reflections that explore the various dimensions of Tribal Streetwear, and how the impact of their designs continues to balance the precarious act of being relevant and responsible with their resources.

The book is divided into four sections.

Section 1 features essays that set a context for the text. This includes a history of Tribal and where it fits within the history of streetwear, a personal narrative of the founding of Tribal, and lastly an essay on the uniqueness of southern California aesthetics and the fascination with this southern California inspired fashion.

Section 2 is a series of interviews with notable artists, musicians, and cultural tastemakers that have contributed toward street culture and Tribal. These include Mr. Cartoon (tattoo artist), RISK (graffiti artist), PERSUE (street artists), Mike Giant (tattoo artist), Dyse One (graffiti artist), Craig Craig Stecyk III (skateboard culture), Bob Hurley (surf culture), and the Beastie Boys (hip hop).

Section 3 includes a series of invited and peer-reviewed academic articles on distinct subjects within the street culture genre that further dive into the inputs and influences of Tribal Streetwear. They include breakdancing, surfing, skateboarding, graffiti, street art, tattooing, music (hip-hop/punk), lowriders, custom culture, and Chicano Studies.

Section 4 is a series of photo essays that capture the three decades of Tribal Streetwear and serves as a visual history of the brand and the evolution of its graphics. 

Adapted by James Ivory from André Aciman’s novel and directed by Luca Guadagnino, the film Call Me by Your Name has been passionately received among audiences and critics ever since its 2017 release. A love story between seventeen-year-old Elio (Timothée Chalamet) and graduate student Oliver (Armie Hammer) and set in 1983 ‘Somewhere in northern Italy’, Call Me by Your Name presents a gay relationship in a romantic idyll seemingly untroubled by outside pressures, prejudices or tragedy. While this means it offers audiences welcome opportunities to swoon in front of an LGBTQ+ romance that equals classic heterosexual romances onscreen, its relevance or political significance today may not be immediately apparent. And yet the film is abundantly infused with narrative, thematic and stylistic elements that can be interpreted as speaking powerfully to contemporary audiences on questions of sexual identity.This edited collection addresses how the film helps inform our understanding of contemporary sexual identity and romance. How does this love story explore wider tensions that exist between the specific and the general, between the open and the hidden, and between the past and the present? The contributors to the collection explore these questions in stimulating and contemplative manners.

Adapted by James Ivory from André Aciman’s novel and directed by Luca Guadagnino, the film Call Me by Your Name has been passionately received among audiences and critics ever since its 2017 release. A love story between seventeen-year-old Elio (Timothée Chalamet) and graduate student Oliver (Armie Hammer) and set in 1983 ‘Somewhere in northern Italy’, Call Me by Your Name presents a gay relationship in a romantic idyll seemingly untroubled by outside pressures, prejudices or tragedy. While this means it offers audiences welcome opportunities to swoon in front of an LGBTQ+ romance that equals classic heterosexual romances onscreen, its relevance or political significance today may not be immediately apparent. And yet the film is abundantly infused with narrative, thematic and stylistic elements that can be interpreted as speaking powerfully to contemporary audiences on questions of sexual identity.This edited collection addresses how the film helps inform our understanding of contemporary sexual identity and romance. How does this love story explore wider tensions that exist between the specific and the general, between the open and the hidden, and between the past and the present? The contributors to the collection explore these questions in stimulating and contemplative manners.

Comics have always embraced a diversity of formats, existing in complex relationships to other media, and been dynamic in their response to new technologies and means of distribution. This collection explores interactions between comics, other media and technologies, employing a wide range of theoretical and critical perspectives.

By focusing on key critical concepts within multimodality (transmediality, adaptation, intertextuality) and addressing multiple platforms and media (digital, analogue, music, prose, linguistics, graphics), it expands and develops existing comics theory and also addresses multiple other media and disciplines.

Over the last decade Studies in Comics has been at the forefront of international research in comics. This volume showcases some of the best research to appear in the journal. In so doing it demonstrates the evolution of Comics Studies over the last decade and shows how this research field has engaged with various media and technologies in a continuously evolving artistic and production environment. The theme of multimodality is particularly apt since media and technologies have changed significantly during this period. The collection will thus give a view of the ways in which comics scholars have engaged with multimodality during a time when “modes” were continually changing.