Suchergebnisse

The exhibition focused on dress practices amongst black people in Britain from the late 1940s to 2004. It developed out of concerns about the relationships between dress, ethnicity, 'race' and place outlined in '"Out of Many, One People"?: The Relativity of Dress, Race and Ethnicity to Jamaica, 1880-1907' (Tulloch 1998).In 'Black British Style' garments, accessories, photography and film were used to discuss the black identities developed by men, women and children in post-war Britain. The exhibition challenged stereotypes associated with black aesthetics and identities. It placed the dress choices made by individuals to define their sense of self in a historical context. I wanted visitors to gain a better understanding of how, and why, black people in Britain styled their bodies, whether as part of migration, religious, secular or political activities. Oral testimonies played an important role in portraying 'the sincere self' to the choice of garments chosen for display. The exhibition stressed that there is a historical legacy that underpins the style performance associated with this cultural group. 'Black British Style' showed how black people in Britain confronted the tenets of difference to present a sense of 'authenticity' to their life experiences. Black British Style' was the first major exhibition devoted to these issues to be shown in a national museum. It's cultural significance extended internationally as it was the inspiration for the exhibition 'Black Style Now' (2006), Museum of the City of New York. The positive national and international media reactions to the exhibition reinforced the importance of recognising the presence and cultural impact of black people in Britain. An outcome of the exhibition, the associated publication and conference was the successful application for an AHRC Diasporas, Migration and Identities Network grant. This has resulted in the Dress and the African Diaspora Network.

Auf der Grundlage des augustischen Dualismus von Erfahrung und Wissen diskutiert dieser Bericht die Geschichte von Fechners "Ästhetik von unten" im Laufe der letzten 100 Jahre. Die britische Aufklärungsphilosophie erweist sich als Quelle dieser empirischen Ästhetiktheorie, ihre gesellschaftspolitische Relevanz zeigt sich am Eifer seiner oft stark parteiischen zeitgenössischen Kritiker wie E. v. Hartmann, F. Brentano und B. Croce. Zu Beginn dieses Jahrhunderts wurde eine außergewöhnliche Anzahl von Experimenten in der ästhetischen Psychologie durchgeführt, aber ihre Ergebnisse boten keine Grundlage für spätere Forschungen zur Formulierung einer überzeugenden Theorie. Nach dem Zweiten Weltkrieg wurde die Forschung auf diesem Gebiet von elementorientierten Theorien (Informationstheorie) beeinflusst, was vom Autor kritisiert wird, der eine Rückkehr zu den Ideen der Gestaltpsychologie empfiehlt. [Translated with www.DeepL.com] ; Based on the Augustianian dualism of experience and knowledge, this report discusses the history of Fechner's »Ästhetik von unten« in the course of the last 100 years. The British philosophy of enlightenment is shown to be the source of this empiric theory of aesthetics, its socio-political relevance is demonstrated by the fervour of his often strongly biased contemporary critics, such as E. v. Hartmann, F. Brentano and B. Croce. At the beginning of this century an extraordinary number of experiments in aesthetical psychology were made but their results offered no base for later research to formulate a convincing theory. After World War II, research in this field was influenced by element orientated theories (information theory) which is criticized by the author who recommends a return to the ideas of Gestalt psychology. ; notReviewed ; publishedVersion

Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity. ; Fears of physical devastation were shared by millions of men during the First World War. Some men attempted to avoid the risks of combat by ,shirking' or malingering: others accepted to play their allotted role and, in consequence, tens of thousands were severely mutilated. This article examines masculinity as experienced by these two groups of men during the First World War. Their anxieties did not vanish with the armistice, either: in the twenty-five years leading to the Second World War, the physical and psychological scars left by the conflict of 1914- 1918 were a continual ache for combatants and their families. Similarly, the crisis of masculinity inspired by the massive mobilisation of military resources did not end with the war: the knowledges and disciplines forged in the context of war were applied to civilians in the interwar period. Military interference in British society and the economy disturbed the aesthetics of the male body, fundamentally affecting not only the shape and texture of the male body but also the values ascribed to the body and the disciplines applied to masculinity.