This article reports on the incorporation of visual material as a tool for learning sociology and discusses a poster assignment introduced as a means of assessment in an academic context committed to innovative learning strategies and to teaching and learning enhancement. The article draws on an evaluation of using the poster assignment to assess student learning and argues that visual images can provide valid and insightful ways of 'telling about society' which challenge the reliance on text as a means of teaching and learning sociology. The article explores the context in which visual materials are used in teaching and learning sociology and their impact on and significance for assessment and learning.
Adapting the Gothic Metropolis
backdrop of one of London’s most famous cultural symbols, Big Ben and the Palace of Westminster. Another possible way of reading this, however, is to see it as a clever reworking of a much earlier promotional image in Dracula’s screen life: the poster for
Female Images in Soviet Wartime Poster Propaganda, 1941–1945
During the Second World War, legions of Soviet women behind the lines participated in war-time production in both industry and agriculture. Soviet propaganda, despite the overwhelming numbers, contributions and sacrifices of women, graphically portrayed them in ways that both re-established the pre-war patriarchal gender relations of the Stalinist era and circumscribed women’s wartime experiences. This article examines how, during the initial and la er years of the conflict, and in the important and under- studied source of Soviet poster propaganda, the symbolic configuration and recon- figuration of femininity and the female image was transmitted through shifting official policies and attitudes on the role of women. While early posters portrayed women’s wartime participation as atypical, temporary and unwomanly, propaganda by the end of the war featured hyper-feminised representations of women while the Soviet state moved to reassert political controls and institutionalise conservative gender policies to serve the needs of war and reconstruction.
Demographic Decline and the Public Response in the Late Soviet Period
In 1968, the Soviet economist and demographer Boris Urlanis started a national conversation in the Soviet Union with his article “Beregite muzhchin!” or “Save the Men!” in the popular journal Literaturnaia gazeta. The essay, translated here, points out the increasingly troubling imbalance in male and female health as men were dying, on average, eight years earlier than women. Urlanis calls for attention to accidents and lifestyle problems (smoking and drinking, as featured in propaganda posters) as well as a nationwide set of health institutions centered on male health. The essay precipitated a flood of essays, letters, commentaries, cartoons, and even a movie under the same title.
Representations of Women in Soviet Wartime Cinema
This article examines the process of symbolisation in the images of women in Soviet cinema. It argues that during the Great Patriotic War (1941–1945) many female characters served as symbolic representations of the country itself, of Mother Russia, determined to defeat the enemy and ready to endure hardships and to cope with deprivation and grief. The start of the resistance against Nazi Germany called for many more depictions of women than was typical in the thoroughly masculinised culture of the 1930s. At the same time, wartime images of women were quite abstract: they recalled posters and often relied on a symbolically charged mise-en-scène.
Aparna Kumar, Mary Bouquet, Alexandra Woodall, Paulette Wallace, Arjmand Aziz, Elizabeth Edwards, and Petra Mosmann
EXHIBITION REVIEW ESSAYS
Unsettling the National in South Asia: My East is Your West, Venice Biennale, and After Midnight, Queens Museum, New York
Nonstop Modernity: Renovating the Rijksmuseum
A Storehouse of Unimagined Treasures: York Art Gallery and the Centre of Ceramic Art, York St Mary’s
The Museum of Old and New Art, Hobart
Indigenous Australia: Enduring Civilisation, British Museum, London
Photography: A Victorian Sensation, National Museums of Scotland, Edinburgh, and Framed: People and Place in Irish Photography, Ulster Museum, Belfast
Girls at the Tin Sheds: Sydney Feminist Posters 1975–1990, University Art Museum, Sydney, and Girls at the Tin Sheds (Duplicated), Verge Gallery, Sydney
On the spatial and moral center of the house in rural China
In the past, most farmhouses in central China had an ancestral shrine and a paper scroll with the Chinese letters for "heaven, earth, emperor, ancestors, and teachers" on the wall opposite the main entrance. The ancestral shrine and paper scroll were materializations of the central principles of popular Confucianism. This article deals with their past and present. It describes how in everyday action and in ritual this shrine marked a spatial and moral center. During the Cultural Revolution (1966-1976) the ancestral shrines and paper scrolls were destroyed, and replaced by a poster of Mao Zedong. Although the moral principles of popular Confucianism were dismissed by intellectuals and politicians, Mao Zedong was worshipped in ways reminiscent of popular Confucian ritual. The Mao poster and the paper scroll stand for a continuity of a spatial-moral practice of centering. What has changed however is the public evaluation of such a local practice, and this tension can produce a double embarrassment. Elements of popular Confucianism (which had been forcefully denied in the past) remain somewhat embarrassing for many people in countryside. At the same time urbanites sometimes inversely perceive the Maoist condemnation of popular Confucianism as an awkward survival of peasant narrow-mindedness—all the more so as Confucian traditions are now reinvented and revitalized as cultural heritage.
Tourists, Truth, and the Insouciance of Souvenirs
Gundagai’s statue of the Dog on the Tuckerbox, about half way between Melbourne and Sydney, was arguably Australia’s most popular purpose-built tourist attraction for half a century from its unveiling in 1932. This article uses the monument as a case study to consider the ways in which the past is visualized as it is turned into tourism. In what has been called the “circle of representation,” tourists’ understandings of the places they visit are shaped by the preconceptions created by pre-existing media representations through art, postcards, photography, posters, tourist brochures, souvenirs, and so on. In the case of the Dog on the Tuckerbox, the expurgated language of souvenirs, as they multiplied through the twentieth century, came to displace oral dissemination of earlier more vulgar meanings attached to the original story that was the inspiration for the monument.
Henri Lefebvre rarely looms large in discussions of Sartre, and vice versa. With the notable exception of Mark Poster, critics have generally ignored the role of France’s leading Marxist philosopher in mediating Sartre’s encounter with Marxism. As a result, Sartre’s well-known footnote in the Critique de la raison dialectique, quoted above, may appear as a characteristically quixotic gesture on his part. The purpose of this article is to argue that this relatively isolated acknowledgement is the tip of an iceberg, beneath which there lies a deep and complex philosophical and political relationship. The text was published in 1957 at a moment when Sartre and Lefebvre came to share an unusual degree of common ground. This itself requires detailed examination, but it first needs to be situated in a wider context embracing most of the lifetime of the two thinkers up until that point.
In addressing mounting environmental problems in recent years, many Iranian environmentalists have increasingly adapted discourses and implemented programs that are modeled on scientific ecology. Does this mean the verbatim transfer of Western scientific modernity in Iran? My analyses suggest otherwise. This article explores the unique ways in which a burgeoning environmental awareness unfolds in Iranian contexts by investigating how conceptions of "nature" shape the environmentalists' discourses and practices. It appears that an ecological scientific conception of nature is becoming an important frame of reference among such environmentalists. However, another conception of nature-one framed in relation to Iranian nationhood-makes a key contribution to environmentalism in Iran. Drawing on fieldwork conducted in 2009-2011 in Tehran, this study demonstrates how "Iranian nature" is delineated and practiced through the environmentalists' (re)engagements with certain objects-maps, posters, and photographs-in relation to which local ways of conceptualizing nature are elaborated.