Suchergebnisse

Cover; Title Page; Copyright; Contents; Tables and Figures; Acknowledgments; Abbreviations; Introduction; Chapter One The Edge of Industrialization: Finding a Northern Fibre; Chapter Two Everyday Exchanges: Growing and Harvesting Flax in Ontario; Chapter Three Flax Fabrications: Selling the Promoter's Plant; Chapter Four Covering the Earth: North American Flax and Paint to 1878; Chapter Five Saving the Surface: Flax in the Urban Industrial Complex; Chapter Six Cover Crop: Growing Flax for Linseed Oil and Paint; Chapter Seven Saving Flax: Industry, Science, and the Tariff; Conclusion; Notes

"This book investigates the workings of Russian-language culture in Uzbekistan, the ways in which an imperial civilization promoted itself, from the mid-nineteenth century to the tragic uprising in Andijan of May 2005. It demonstrates how the Russian language and its speakers attempted to create something called 'Uzbekistan', examining the predicament of Russian culture in a predominantly Islamic society within several contexts: historical, political, social, artistic, religious, and ecological. Focusing in particular upon the Russian language, it also analyzes non-verbal domains of Russian enterprise such as classical music, opera, folk dance, and ballet. It shows how these forms of expression were not initially part of Uzbekistan, and had to be vigorously, verbally advertised by Moscow as it tried to promote itself as culturally superior. This book outlines the cultural implications of Russia's involvement with the Uzbek people, and Islam in general, and will be of great relevance to the study of other conflicts of a similar nature in the world today."--BOOK JACKET.

Recent political changes in Central Asia, whereby the United States is replacing Russia as the dominant power, are having a profound effect on Russian speakers in the region. These people, formerly perceived as progressive and engaging with Europe, are now confronted by the erasure of their literary, musical, cinematic and journalistic culture, as local ethnic and American cultures become much stronger. This book examines the predicament of Russian culture in Central Asia, looking at literature, language, cinema, music, and religion. It argues that in fact the Soviet past was much more comp

Canadian artist Allyson Mitchell sets her intentions for her craft-based work in her Deep Lez I Statement, an artist's statement that suggests that the radical lesbian feminisms of the 1970s have much to offer later feminists, regardless of gender, while also stating that "lesbian" is an identity that can be reclaimed as position of political and personal strength and agency. Deep Lez is also Mitchell's aesthetic language and is deeply informed by visual markers of the 1970s as it recalls the colors, crafts, and feminisms of that period. As an I Statement and as an aesthetic, Deep Lez is past and future looking as it focuses on the past to imagine better queer worlds in the future. In this thesis, Mitchell's work is examined as not only symbolic of the utopic longings of the 1970s feminist political movements and how they can inform better futures, but also how her work expresses agency available for fat and lesbian feminisms in the present. Her works, Fat Craft, Ladies Sasquatch, and Killjoy's Kastle are looked at through a present lens and how these works offer, both intentionally and accidentally, ways to gain political and personal power in the present for fat and lesbian bodies and identities. In this, the notion of hope—a key component of the survival strategies Mitchell's work offers—is developed and examines how that fragile and fumbling state in a difficult present can move Deep Lez from being a longing oscillating between the past and the future to being fully alive and active right now.