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The family lives of immigrants and ethnic minority populations have become central to arguments about the right and wrong ways of living in multicultural societies. While the characteristic cultural practices of such families have long been scrutinized by the media and policy makers, these groups themselves are beginning to reflect on how to manage their family relationships. Exploring case studies from Austria, the Netherlands, Norway, Portugal, Spain, Switzerland, the United Kingdom, and Australia, The Family in Question explores how those in public policy often dangerously reflect the popular imagination, rather than recognizing the complex changes taking place within the global immigrant community.
women: historical, geographic, persons treatment --- sociology --- anthropology --- sociologie --- vrouwenstudies --- anthropologie
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In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.
women: historical, geographic, persons treatment --- culture and instituten --- culture and institutions --- motion pictures --- vrouwenstudies --- film
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Most artists earn very little. Nevertheless, there is no shortage of aspiring young artists. Do they give to the arts willingly or unknowingly? Governments and other institutions also give to the arts, to raise the low incomes. But their support is ineffective: subsidies only increase the artists' poverty. The economy of the arts is exceptional. Although the arts operate successfully in the marketplace, their natural affinity is with gift-giving, rather than with commercial exchange. People believe that artists are selflessly dedicated to art, that price does not reflect quality, and that the arts are free. But is it true? This unconventional multidisciplinary analysis explains the exceptional economy of the arts. Insightful illustrations from the practice of a visual artist support the analysis.
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