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The literature that problematizes Brazilian Popular Music of the 1970s tends to cut it through an experimentalist bias that had three pillars: individualism, crack songs and critical songs. The author problematizes the artistic trajectory of the composer Belchior within this frame, aiming precisely to understand how the songbook brought experimentalism in his work. The main sources gather the songs and album covers of Belchior's discography from the 1970s to the 1990s. At the end, the text takes stock of the analytical possibilities that Belchior could offer, taking into account the interpretative gaps that exist in the popular music of the 1970s decade. [ABSTRACT FROM AUTHOR]

Purpose: The study aims to determine the compatibility of the books with the principles of children's literature by examining the physical, internal structure, and illustration characteristics of the children's poetry books most borrowed from the Nilüfer Municipality Poetry Library and Misi Children's Library. Method: 98 books evaluated within the scope of the research with sampling were borrowed from the Children's Library and Poetry Library. A case study, one of the qualitative research methods, was used in the current work that collects the data through document analysis. Results: According to the findings obtained from the study, 95.9% of the books are medium size, 61.2% are stitched binding, 95.9% are straw paper, and 40.8% have 71 or more pages. When examining the page layout and grammar features, 42.9% of the books were written with single line spacing, 56.1% were written with 12 font size, 91.8% were left-justified, and punctuation marks were used in 55.1%. Regarding the illustrations placed in the books, 88.8% of the cover art is compatible with the content, 73.5% includes emotional expressions in the pictures, 44.9% has colored pictures, 74.5% keeps no pictures on each page, and 60.2%, places pictures and texts on the same page in a way complement each other. Considering the internal structure of the books, 34.7% tackle the theme of 'values' and 64.3% adopt a pastoral style. Conclusion: It has been found that the majority of children's poetry books borrowed from Nilüfer Municipality Poetry Library and Misi Children's Library have author promotion. The most borrowed children's poetry book belongs to Fazıl Hüsnü Dağlarca, and secondly to Mavisel Yener and Aytül Akal. Most of the books have illustrators and Mustafa Delioğlu is the the one who mostly took part in the illustrating process. The publisher that published the most children's poetry books was Yapı Kredi, followed by Can Child. It has been determined that the publication years of children's poetry books are primarily those of 2012 and 2008 and that the majority of the books are first editions. There is no age information in the majority of children's poetry books. Originality: Some studies examine the physical and content elements of children's books. However, studies on poetry books have not been much in the literature. The study is unique in examining the physical and content features of children's poetry books. It is thought that the study will draw attention to children's poetry books and their place in library collections. [ABSTRACT FROM AUTHOR]

The cover image of this issue of Technology and Culture is a collage crafted from two figures in this essay. On the right side of the image is a detail of a black and white photograph from around 1900 of female silk mill workers (Figure 1) juxtaposed on the left with detail of a color woodblock print from 1877 depicting a mock-up of the Tomioka silk mill featured in an industrial exposition staged that year in Tokyo (Figure 2). The collage was composed by reversing the two figures to create a dynamic "V" designed to draw the viewer's eye from left to right and, by implication, from the glamorized rendition of silk mill work in the woodblock print to a more real-world photograph documenting actual working conditions in a silk mill. This essay provides a socio-historical matrix for, and critical analysis of, representative visual images of sericulture and silk mills. [ABSTRACT FROM AUTHOR]

In early childhood, the first source that introduces children to two branches of art, including both painting and literature, is illustrated story books. Illustrated story books for children supports cognitive, language and social emotional development. The pictures in the story books used in early childhood is important that the story has the feature of explaining the subject, developing the imagination and aesthetic feelings, sometimes taking the place of a word and sometimes embodying the meaning of the word in the written text. In order to comprehend complex objects and events, the integrity of text and picture is the criterion sought. Adults read Illustrated story books, while children listen and look at their pictures. In this study, children were asked to tell their story books by looking at the pictures without the help of adults. In this study, childrens were asked to explain the storybooks by looking at the pictures without the help of adults. In the research, illustrated story books prepared for the age of 3-4 (identity information, internal and external structure criteria) were examined and screened. Children were asked to visually read the books that met the criteria. When the children's responses and comments are analyzed quantitatively, it is seen that there is no significant relationship between gender and the responses to the content picture (x2(1)=,337; p>.05). As a matter of fact, the observed frequency and expected frequency values were found to be quite close to each other. Again, no significant difference was found between the gender and the responses to the cover art ((x2(1)=,887; p>.05) and the responses to the story-picture match (x2(1)=,939; p>.05). The cover pictures of the books examined in frequency distribution were found to be compatible by the researchers for 43 (95.6%) and 14 (56.0%) children. In the content pictures, the researchers found the books to be compatible with 97.8% and children 48.0%. [ABSTRACT FROM AUTHOR]

Numerous other translations were made into other world languages, including Esperanto.[24] The book was also followed by a franchise of sequels: I Po stopách polárních poklad i I u i ( I The Quest for Polar Treasures i , English translation by Marie and Robert Weatherall in 1933), I Trampoty eskymáckého nácelníka v Evrope i (1932; Troubles of an Eskimo Chief in Europe), I Ledové povídky Eskymo Welzla i (1934; Eskimo Welzl's Icy Tales), and I Strycek Eskymák i (1941; Uncle Eskimo).[25] Graph: Fig. It seems clear that, in various ways, Welzl was taken advantage of and essentialized, much as he wanted to take advantage of the Eskimo, and much as so-called outsider artists were often taken advantage of, in later modernism, for market purposes.[43] Welzl was put on display during his time in Europe. But while he was taken advantage of, Welzl's complicity in his own fetishization suggests not a straightforward dualism in which Welzl on the one hand operates as civilized man in regard to the New Siberian islanders, and then again, back in Europe, as the Eskimo in regard to his metropolitan editors and audiences in Czechoslovakia. While there is a small cult of "Welzlologists" concerned with the facts of Welzl's biography, critics have not placed the Welzl texts into a set of currents that reveal them as partaking in a broader literary history.[26] Valenta's 1971 complaint that "Czech criticism paid absolutely no attention to Welzl's books; silencing them - something unique in Czech literature", is no less true now over fifty years later.[27] The word "ojedinely" (unique), presents these books as a nonce phenomenon. [Extracted from the article]

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Academic Inquiries / Akademik Incelemeler Dergisi is the property of Akademik Incelemeler Dergisi (Journal of Academic Inquiries) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

On her 2014 debut album, Społeczen'stwo jest niemiłe (Society is Mean), Polish author Dorota Masłowska introduced audiences to Mister D., an alter ego who brought Masłowska's trademark cutting social critique to an eclectic mix of hip-hop and pop musical tracks and videos. Analyzing the music video for "Chleb" (Bread) and the accompanying album art, as well as the stand-alone single "Tęcza" (Rainbow), this article demonstrates how Masłowska's sampling of familiar hip-hop tropes and nationalist narratives exposes the component parts of our everyday and reveals how quotidian performances of gender, sexuality, and nationality combine in the perception of authenticity. This analysis is framed within discourses on sampling, parody, and humor in hip-hop to highlight the critical potential of her play with recognizable types and the subversive potential of "playing the part." In her visual and verbal collage, Masłowska employs the logics of hip-hop sampling to piece together elements of extant culture and conventions alongside original material to produce a text that speaks to the present while drawing on the past. In so doing, Masłowska's critical and recombinant performance destabilizes the very idea of the authentic, revealing its artifice and insisting on an art and nation that is open to innovation and recognizes its own construction. [ABSTRACT FROM AUTHOR]

The article presents an interview with artist Lennox Commissiong. Topics discussed by him includes his background and how it shaped him to become the artist, use of pointillism by him to recreate images of prominent figures, creating dots using the pointillism technique, and issues related to creating pieces with pointillism collection including "First Lady" and "One Love."

Inspired by Barthes's analysis of a Paris Match cover image, our paper semiotically explores two oil-on-canvas images by New Zealand-born Indian artist Bephen Bahana. Within our exploration, we use constructs of denotation, connotation, myth and archetype to illuminate those images. Our research aim was to find the meaning behind the two portraits' visual aesthetics. In doing so, we reveal Bahana's The Curry Bunch (2012) images to be a visual shorthand signifying Indian history and the ways in which American media influence impacts notions of identity. Specifically, our insights reveal the ways in which many contemporary Indian people might 'see themselves'. While our work concentrates upon Indian imagery, myth and archetype, those considerations have pan-cultural connections. In these ways, our paper links pop art to popular culture and, in doing so, raises questions about how the canon and hierarchy of art have come to reflect and reinforce wider sociocultural norms. Our paper offers a voice of resistance, in much the same style as Bahana's images. [ABSTRACT FROM AUTHOR]

Copyright of Ars Bilduma is the property of Ars Bilduma and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Palobra is the property of Universidad de Cartagena and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Fantastikforschung is the property of Open Library of Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses that Barclay released Les Chansons d'Aragon chantées par Léo Ferré in 1961 and on this occasion, two crossed texts. It mentions Léo Ferré et la mise en chanson for Louis Aragon, Aragon et la composition musicale for Léo Ferré, are born, appearing on the album cover and in Les Lettres françaises of January 19, 1961. It also mentions poet set to music and that of the melody illustrating the poet.

A recording or performance of a song is a cover if there is an earlier, canonical recording of the song. It can seem intuitive to think that properly appreciating a cover requires considering it in relation to the original, or at least that doing so will yield a deeper appreciation. This intuition is supported by some philosophical accounts of covers. And it is complicated by the possibility of hearing in, whereby one hears elements of the original version in the cover. We argue that it can nevertheless be just as legitimate to consider a cover version on its own as it is to consider it in relation to the earlier recording that it is covering. In some cases, these two modes of appreciation will offer distinct rewards. In other cases, one mode will be substantially more rewarding than the other. The details matter, especially in complicated cases like covers of covers, but neither mode is privileged in principle. [ABSTRACT FROM AUTHOR]

Copyright of WestEnd is the property of Nomos Verlagsgesellschaft mbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article, titled "THE FRONT," features the digital illustration "Shine" by Jordanna George, which was commissioned for the cover of Pomo musician hay:u's album. The artist discusses their use of a sun design and their exploration of Salish motifs in the revised version of the illustration. Additionally, the article showcases another illustration by George called "Salish Plants," which depicts native plants of the Salish lands. The artist, who is of mixed T'Sou-ke and Ukrainian ancestry, shares their interest in learning about Indigenous plants and their uses. The article also provides a brief biography of Jordanna George, highlighting their work in comics and illustrations that explore themes of identity, belonging, and hope, drawing influence from Indigeneity, queerness, and science fiction. [Extracted from the article]

"Designed for Hi-Fi Living: The Vinyl LP in Midcentury America" by Janet Borgerson and Jonathan Schroeder is a scholarly study that explores the influence of vinyl LPs on American society in the mid-20th century. The book is divided into two parts, "Home" and "Away," which examine how LPs shaped perceptions of home life and fueled a desire for travel, respectively. The authors analyze album covers and occasionally delve into the recordings themselves, highlighting the ways in which these albums offered guidance and advice to listeners. The book features photos of nearly 150 vintage album covers and provides extensive information about each one. Overall, "Designed for Hi-Fi Living" is a visually appealing and informative volume that offers insights into the cultural significance of vinyl LPs in midcentury America. [Extracted from the article]