Among the possible types of sources that can be used in the teaching of history, songs represent an alternative way to involve students in the deepening of values, practices, ideals and conflicts ...that inform and structure a historical culture and the social relations at its internal. The songs have several advantages: they are widely and transversally spread, they have a short duration which allows, from an educational point of view, a complete use in a short time and a high availability, also thanks to the different digital platforms. As an expressive form, however, the song stimulates a fruitful connection between its content and the emotional experience of the student, often revealing personal keys to reading the contents. This contribution presents a chance of using Italian songs relating to the years 1980-1985 to analyze the events of the period of the so-called Second Cold War, when the level of global atomic risk reached its peak.
1980 was a turning point in American history. When the year began, it was still very much the 1970s, with Jimmy Carter in the White House, a sluggish economy marked by high inflation, and the disco ...still riding the airwaves. When it ended, Ronald Reagan won the presidency in a landslide, inaugurating a rightward turn in American politics and culture. We still feel the effects of this tectonic shift today, as even subsequent Democratic administrations have offered neoliberal economic and social policies that owe more to Reagan than to FDR or LBJ. To understand what the American public was thinking during this pivotal year, we need to examine what they were reading, listening to, and watching.
1980: America's Pivotal Year puts the news events of the era—everything from the Iran hostage crisis to the rise of televangelism—into conversation with the year’s popular culture. Separate chapters focus on the movies, television shows, songs, and books that Americans were talking about that year, including both the biggest hits and some notable flops that failed to capture the shifting zeitgeist. As he looks at the events that had Americans glued to their screens, from the Miracle on Ice to the mystery of Who Shot J.R., cultural historian Jim Cullen garners surprising insights about how Americans’ attitudes were changing as they entered the 1980s.
Praise for Jim Cullen's previous Rutgers University Press books:
Informed and perceptive —Norman Lear on Those Were the Days: Why All in the Family Still Matters
Jim Cullen is one of the most acute cultural historians writing today. —Louis P. Masur, author of The Sum of Our Dreams on Martin Scorsese and the American Dream
This is a terrific book, fun and learned and provocative...Cullen provides an entertaining and thoughtful account of the ways that we remember and how this is influenced and directed by what we watch. —Jerome de Groot, author of Consuming History on From Memory to History
The article will focus on a critical re-evaluation of approaches to the city in the period of late normalization; especially on the new ethos that took place in the professional community as a result ...of postmodern ideas coming from Western Europe, but also thanks to the extremely negative experience of the highly modernist industrialization of architecture, abused by the socialist regime. The core of the text will compare the three areas of the normalization city – housing estates, core and historic districts. At the housing estate it is going to describe efforts to introduce city-forming features in the parameters of newly established public spaces, their equipment and requirements for public buildings. In the case of historic cores, intentions were primarily related to rehabilitation of the city’s main streets and squares or to fill inappropriate empty plots. And in connection with the historic (industrial) districts, the text will describe the program of modernization of apartment buildings from 19th and early 20th century. The text is based on a research project – Architecture of the Eighties – completed last year.
Las dos películas protagonizadas por el grupo musical los Hombres G en los años ochenta fueron muy poco reconocidas por la crítica de su momento. Esas ficciones quedaron atrapadas entre las obras ...asociadas a la movida madrileña y un cine realizado bajo los auspicios del sistema de subvenciones de la época, que ha ocupado mucho espacio en el imaginario de críticos y académicos. Pero las películas de los Hombres G ¡Sufre, mamón! (Manuel Summers, 1987) y Suéltate el pelo (Manuel Summers, 1988) fueron un éxito de público incontestable. El propósito del artículo es analizar cómo estas dos cintas construyeron, a través de un humor grueso y el uso de la parodia, la sátira, la intertextualidad y hasta la autoficción, un retrato deformado de la época, que en modo alguno puede ser tachado de despolitizado. Estudiaremos cómo estas dos películas excedieron su función de vehículos comerciales al servicio de un grupo musical para acabar ofreciendo un entretenimiento irreverente que se burlaba tanto de sus mayores y de las instituciones por ellos controladas, como de sus coetáneos, los jóvenes completamente volcados en una cultura de consumo que marcó en gran manera aquella época.
The article deals with some crucial topics as Europeanism, the 'European question', and the process of European integration interpreted and elaborated by the Italian Christian Democracy during the ...Eighties. The main issues are: (1) The crisis of Europeanism as a consequence of a strong return of nationalism and the weakening of its idealism (with a responsibility of the Christian Democratic parties); (2) The revamping of Europeanism considered both as a Christian democrat historical mission and 'national politics' strongly connected to the idea of European homeland in a dynamic international framework; and (3) Europeanism as a qualified feature of the Christian Democratic identity, considered in its idealistic and strategic dimension, with reference to the evolution of the international context up to the end of the Cold War and the overall rethinking of the Democrazia cristiana at the Italian and European level.
The loudest and most senior voice to be found in the Christian Democrat Party in the 1980s in support of electoral system reform was that of Mario Segni; a voice so loud as to progressively become a ...destabilizing factor for the party. In support of a bipolar political system since 1976, Segni tabled a series of electoral reform bills seeking to implement majority rule reform measures both locally and nationally. The rejection of his proposals led him, in 1988, to abandon the parliamentary route and turn to an electoral reform movement that sought to implement change via referenda in June 1991.
This article examines the contribution the La Repubblica newspaper and its founder and editor-in-chief Eugenio Scalfari made to the debate on the 'European question'. In particular, it focuses on the ...role the newspaper played in the evolution of Europeanism on the Italian Left from 1984, the year when the second elections were held to the Strasbourg Parliament with universal suffrage and Enrico Berlinguer died, to 1992, covering the period when, as well as signature of the Maastricht treaty, the final act took place in the demise of Italy's 'Republic of the Parties'.
La escultura valenciana de los ochenta y en décadas siguientes --con su revisión, ejercitada desde la propia práctica e investigación docente-- abrió una etapa destacada, en plena transición ...política, de carácter intergeneracional, en la que cabe subrayar el papel desempeñado por la relevante presencia de la mujer, en tal contexto de creatividad escultórica. En el presente trabajo, se toma como hilo conductor, de ese fenómeno transdisciplinar y de compromiso reivindicativo, la trayectoria de la escultora Mau Monleón Pradas (Valencia, 1965), tanto en su producción artística transmedia, como en su diversificada acción socio-política, asumiendo la perspectiva de género, en calidad de brazo de palanca de su plural desarrollo investigador e influyente actividad estética.
The Valencian sculpture of the 1980s and in the following decades --with its revision, exercised from the teaching practice and research itself-- opened an outstanding stage, in full political transition, of an intergenerational nature, in which it is worth underlining the role played by the relevant presence of women, in such a context of sculptural creativity. In the present work, the trajectory of the sculptress Mau Monleón Pradas (Valencia, 1965), both in her transmedia artistic production, and in her diversified socio-political action, is taken as the guiding thread of this transdisciplinary phenomenon and of vindictive commitment. assuming the gender perspective, as a lever arm of its plural investigative development and influential aesthetic activity.
Ni solitaria ni ausente Delgado, Leandro; Ordoñez, Santiago
Avances del Cesor,
06/2022, Letnik:
19, Številka:
26
Journal Article
Recenzirano
Odprti dostop
Tradicionalmente se identifica a la generación de las subculturas del rock uruguayo de los ochenta como antipolítica, antipartidaria y “huérfana” respecto de una tradición cultural de la cual habría ...renegado por no representar sus inquietudes en el rampante optimismo de la nueva democracia. Sin embargo, existieron grupos pertenecientes a estas subculturas cuyas actividades cuestionan estos rasgos. La Brigada Luca Prodan participó activamente en los espacios de la subcultura rock del período al tiempo que lo hacía en la Juventud Socialista del Uruguay a la que pertenecían sus integrantes con menores o mayores conflictos. A partir de entrevistas personales, este artículo reconstruye la conformación y el funcionamiento de la brigada, así como su progresivo alejamiento del Partido Socialista, señala las nuevas formas de acción política llevadas adelante por el grupo en su vínculo generacional con las subculturas del rock y problematiza, en consecuencia, los rasgos atribuidos a esta subcultura como característicos de toda una generación.
