Visual Culture in Britain最新文献_第5页

Blake in Exhibition and on Display, 1904–2014 展览中的布莱克，1904-2014

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1524311

Martin Myrone

引用次数: 0

William Blake and the Age of Aquarius 威廉·布莱克和水瓶座时代

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1525308

Naomi Billingsley

引用次数: 1

The Energy Man: Blake, Nietzscheanism and Cultural Criticism in Britain, 1890–1920 能量人：布莱克、尼采主义与英国文化批评，1890–1920

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1524310

C. Trodd

引用次数: 0

Blake, Ludwig Meidner and Expressionism 布莱克、路德维希·迈德纳与表现主义

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1534606

S. Erle

引用次数: 0

Introduction: William Blake: The Man from the Future 简介:威廉·布莱克:来自未来的人

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1533428

C. Trodd, J. Whittaker

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引用次数: 1

William Blake and British Surrealism: Humphrey Jennings, the Impact of Machines and the Case for Dada 威廉·布莱克与英国超现实主义:汉弗莱·詹宁斯，机器的影响和达达主义的案例

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1522968

David Hopkins

引用次数: 1

Eternity’s Sunrise: The Imaginative World of William Blake 永恒的日出：威廉·布莱克的想象世界

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1537802

Grace Harvey

引用次数: 0

Blake and the New Jerusalem: Art and English Nationalism into the Twenty-First Century 布莱克与新耶路撒冷：进入二十一世纪的艺术与英国民族主义

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1524312

J. Whittaker

引用次数: 0

Roots & culture: cultural politics in the making of Black Britain 根源与文化:黑人英国形成过程中的文化政治

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1521745

R. Arya

{"title":"Roots & culture: cultural politics in the making of Black Britain","authors":"R. Arya","doi":"10.1080/14714787.2018.1521745","DOIUrl":"https://doi.org/10.1080/14714787.2018.1521745","url":null,"abstract":"Roots & Culture (2017) by Eddie Chambers is a fascinating read. It tells of the narrative, or more accurately narratives, of the migration of peoples of Caribbean descent to Britain. Many came, lured by the promise of a better life with economic possibilities, and uprooted themselves to make a new start in what they thought of as their ‘Mother Country’. But the reality was starkly different, and it took generations before a black British identity emerged. Many historical narratives of the subject document the Windrush experience, the arrival of several hundred Caribbean immigrants at Tilbury Docks in 1948, which transformed British society, and the precursor of subsequent waves of post-war migration that would continue for several decades. Where Chambers’s study stands out is in his ability to chronicle the detail and everyday experiences of a people in forming their cultural identity, which involved a struggle between dual impulses: the desire to assimilate and the need to resist. Integration into a host country involves these two imperatives: to fit in, if only for the sake of keeping one’s head down and avoiding racism, and the need to discover or rediscover one’s own roots and culture. Chambers depicts this battle vividly as he shows how West Indian migrants competed with white Britons for housing and employment, and how they drew on their culture, music, art, literature and inherited traditions to give meaning to their lives and to form their identities. A key aspect of Chambers’s narratives is the significance of generation when thinking about the experiences of migration and settlement. Firstgeneration subjects encountered a different Britain to that experienced by second or future generations. They sought to form alliances on ethnic and cultural grounds and found spaces to build communities of support. Mundane environments such as black hair salons became one such space. While the first generation lay the foundations for their children, the experiences of the latter, of having to grow up through the education system and to make a future, presented different challenges. The shifts of experiences from generation to generation are reflected in the language used to ascribe identity. In the post-war climate, Caribbean migrants described themselves as being ‘West Indian’. This later became supplanted by ‘Afro-Caribbean’, and then subsequently replaced by a composite term, ‘Black British’ in the late 1970s and 1980s, which departed from the specificity of place of migration, instead indicating the emergence of a political consciousness. Second-generation subjects, most of whom were born in Britain, laid a different claim to Britain. It was their","PeriodicalId":35078,"journal":{"name":"Visual Culture in Britain","volume":"19 1","pages":"401 - 403"},"PeriodicalIF":0.0,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14714787.2018.1521745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42532761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 8

God Save the Ecchoing Green: The Uses of Imaginary Nostalgia in William Blake and Ray Davies 《天佑青翠:威廉·布莱克和雷·戴维斯对想象怀旧的运用

Visual Culture in Britain Pub Date : 2018-09-02 DOI: 10.1080/14714787.2018.1521743

M. Sanders

引用次数: 3