Women’s Internationalism and Yugoslav-Indian Connections: From the Non-Aligned Movement to the UN Decade for Women

2020 ◽  
pp. 1-16
Author(s):  
Chiara Bonfiglioli
Keyword(s):  
Cold War ◽  
Women's Studies ◽  
Women's Organizations ◽  
Global South ◽  
Women’S Studies ◽  
Cross Border ◽  
The 1950S ◽  
The Cold War ◽  
Main Figure ◽  
Women’S Organizations

Abstract This article addresses women’s cross-border internationalist connections within the Non-Aligned Movement (NAM), focusing on the exchanges between women’s organizations in socialist Yugoslavia and the Global South during the 1950s and 1960s, as well as during the UN Decade for Women (1975–1985). As a result of the Soviet-Yugoslav split, Yugoslavia was expelled from the Women’s International Democratic Federation (WIDF), the main organization federating antifascist, communist, and socialist women, in 1949. To overcome international isolation, Yugoslav representatives established their own bilateral connections with women’s organizations internationally, particularly in the Global South. Throughout the Cold War, the main figure behind women’s internationalism in Yugoslavia was Vida Tomšič (1913–1998), a former partisan and leading politician, trained as a lawyer, who had a fundamental role both in nonaligned and UN settings. In this article, I further analyze Vida Tomšič’s visits to India, and examine her correspondence with Indian scholar and Women’s Studies pioneer Vina Mazumdar (1927–2013). The exchanges between Vina and Vida, as they amicably addressed each other, exemplify the significance of the alliance between activists from socialist countries and activists from the Global South during the UN Decade for Women.

scholarly journals Saints on Stage: Popular Hagiography in Post-WWII Italy

Religions ◽  
2021 ◽  
Vol 12 (3) ◽  
pp. 216
Author(s):  
Daniela Cavallaro
Keyword(s):  
Cold War ◽  
Young People ◽  
Educational Goal ◽  
The 1950S ◽  
The Cold War ◽  
Lives Of The Saints

This article brings to light several examples of the hagiographic plays staged in Italy during the 1950s and early 1960s in parishes, schools, and oratories. The article begins with a brief introduction to the continued tradition of staging the lives of the saints for educational purposes, which focuses on the origins, aims, and main characteristics of theatre for young people of the Salesians, the order founded by Don Bosco in 1859. Next, it offers a brief panorama of the pervasive presence of the lives of the saints in post-WWII Italy. The main discussion of the article concerns the hagiographic plays created for the Salesian educational stages in the years between 1950 and 1965, especially those regarding the lives of young saints Agnes and Domenico Savio. The article concludes that the Salesian plays on the lives of the saints, far from constituting a mere exercise in hagiography, had a definite educational goal which applied to both performers and audiences in the specific times of Italy’s reconstruction and the cold war.

Onopvallend turen naar de Russen

2019 ◽  
Vol 4 (1) ◽  
pp. 15-31
Author(s):  
SANDRA VAN LOCHEM-VAN DER WEL ◽  
HENK VAN LOCHEM
Keyword(s):  
Cold War ◽  
The Netherlands ◽  
Observation System ◽  
Existing Buildings ◽  
Aircraft Observation ◽  
The Future ◽  
The 1950S ◽  
The Cold War

Secretly watching the Russians. Cold War aircraft observation posts on existing buildings During the 1950s a network of aircraft observation post was built in The Netherlands, as a detection/observation system against low-flying hostile aircraft during the Cold War. Preferably, these were placed on highrise buildings. 134 of these 276 observation posts were built on existing buildings, on factories, mills, water towers, monasteries, government buildings and bunkers. Since their decommissioning in 1964-1968, many posts have been demolished. Approximately 37 posts on existing buildings remain, but mostly go unnoticed and many risk demolition in the future. These remaining aircraft observation posts are remarkable relics of our military heritage from the Cold War.

scholarly journals Conceptual Readings into the Cold War: Towards Transnational Approaches from the Perspective of Latin American Studies in Eastern and Western Europe

2017 ◽  
Vol 30 (60) ◽  
pp. 203-218 ◽  
Author(s):  
Albert Manke ◽  
Kateřina Březinová ◽  
Laurin Blecha
Keyword(s):  
Cold War ◽  
Latin American ◽  
Western Europe ◽  
Global South ◽  
Latin American Studies ◽  
Global North ◽  
Scale Integration ◽  
The Cold War ◽  
Eastern And Western Europe ◽  
Multiple Actors

Abstract This bibliographical and conceptual essay summarizes recent research in Cold War Studies in Europe and the Americas, especially on smaller states in historiographical studies. Against the background of an increasing connectedness and globalization of research about the Cold War, the authors highlight the importance of the full-scale integration of countries and regions of the 'Global South' into Cold War Studies. Critical readings of the newly available resources reveal the existence of important decentralizing perspectives resulting from Cold War entanglements of the 'Global South' with the 'Global North.' As a result, the idea that these state actors from the former 'periphery' of the Cold War should be considered as passive recipients of superpower politics seems rather troubled. The evidence shows (at least partially) autonomous and active multiple actors.

scholarly journals Trumpeting through the iron curtain: The breakthrough of jazz in socialist Yugoslavia

Muzikologija ◽  
2012 ◽  
pp. 53-77 ◽  
Author(s):  
Radina Vucetic
Keyword(s):  
Cold War ◽  
The West ◽  
Voice Of America ◽  
Record Industry ◽  
Socialist Government ◽  
Specific Position ◽  
The 1950S ◽  
The Cold War ◽  
Hearts And Minds ◽  
The Voice

During the Cold War, jazz became a powerful propaganda weapon in the battle for ?hearts and minds?. As early as the 1950s, the American administration began its Cold War ?jazz campaign?, by broadcasting the popular jazz radio show Music USA over the Voice of America, and by sending its top jazz artists on world tours. In this specific cultural Cold War, Yugoslavia was, as in its overall politics, in a specific position between the East and the West. The postwar period in Yugoslavia, following the establishment of the new (socialist) government, was characterized by strong resistance towards jazz as ?decadent? music, until 1948 when ?no? to Stalin became ?yes? to jazz. From the 1950s, jazz entered Yugoslav institutions and media, and during the following two decades, completely conquered the radio, TV, and record industry, as well as the manifestations such as the Youth Day. On account of the openness of the regime during the 1950s and 1960s, Yugoslavia was frequently visited by the greatest jazz stars, such as Dizzy Gillespie, Louis Armstrong and Ella Fitzgerald. In the context of the Cold War, the promotion of jazz in Yugoslavia proved to be beneficial for both sides - by exporting jazz, America also exported its freedom, culture and system of values, while Yugoslavia showed the West to what extent its political system was open and liberal, at least concerning this type of music.

scholarly journals Against the odds: The evolution of the European naval shipbuilding industry

2017 ◽  
Vol 12 (1) ◽  
Author(s):  
Renaud Bellais
Keyword(s):  
Cold War ◽  
Economic Model ◽  
Shipbuilding Industry ◽  
Cross Border ◽  
Low Volume ◽  
The Cold War ◽  
Industry Transformation

Despite a low volume of production at national levels, the European naval industry remains quite fragmented 25 years after the end of the cold war. Contrary to what might be expected from an industrial or budgetary perspective, neither cross-border consolidation nor cooperative programs have resulted in European restructuring. The sovereign nature of shipyards has led to the promotion of a domestically-centered industry transformation. Again, contrary to what might be expected, this appears to be a potentially sustainable approach due to the long-term relationship between navies and their domestic industrial partners. Even so, one can question the sustainability of the current economic model, reliant as it is on export contracts and insufficient margins to manoeuver.

‘Communism Is a Religion That Is Inspired, Directed and Motivated by the Devil Himself’: Billy Graham’s Apologetics and the Cold War West

2021 ◽  
pp. 141-159
Author(s):  
Uta Andrea Balbier
Keyword(s):  
Cold War ◽  
Free Market ◽  
Second World War ◽  
World War ◽  
Billy Graham ◽  
Free Market Capitalism ◽  
The 1950S ◽  
End Times ◽  
The Cold War ◽  
Second World

Anti-Communism constituted a core feature of Billy Graham’s preaching in the 1950s. In Graham’s sermons Communism did not just stand for the anti-religious thread of an atheistic ideology, as it was traditionally used in Protestant Fundamentalist circles, but also for its opposition to American freedom and Free Market Capitalism. This article argues that the term Communism took on significantly new meaning in the evangelical milieu after the Second World War, indicating the new evangelicals’ ambition to restore, defend, and strengthen Christianity by linking it into the discourse on American Cold War patriotism. This article will contrast the anti-Communist rhetoric of Billy Graham and other leading evangelical figures of the 1950s, such as Harold Ockenga, with the anti-Communist rhetoric used by early Fundamentalists in the 1910s and 1920s. Back then, Communism was predominantly interpreted as a genuine threat to Christianity. The term also made appearances in eschatological interpretations regarding the imminent end-times. The more secular interpretation of Communism as a political and economic counter-offer by evangelical preachers such as Billy Graham will be discussed as an important indicator of the politicization and implied secularization of the evangelical milieu after the Second World War.

Coda

2020 ◽  
pp. 257-264
Author(s):  
Beryl Pong
Keyword(s):  
Cold War ◽  
Historical Materialism ◽  
War Literature ◽  
Nuclear Technology ◽  
The 1950S ◽  
Post War ◽  
The Cold War ◽  
Second World

The coda briefly recapitulates the central concerns of this book by discussing Second World Wartime in relation to the 1950s and 1960s. Drawing from Ernst Bloch’s conception of time as a river, and Walter Benjamin’s theory of historical materialism, it discusses why post-war literature and culture looked back to the wartime period through the trope of unexploded bombs, which functioned as mnemonic time capsules. It ends by considering Second World Wartime’s broader relationship to the later chronophobia of the Cold War, when advancements in nuclear technology created a newly fraught relationship between anticipation and retrospection.

Assimilation and Respectability in the 1950s

2020 ◽  
pp. 95-114
Author(s):  
Alexander Kitroeff
Keyword(s):  
Cold War ◽  
The United States ◽  
Eastern Orthodox ◽  
Orthodox Church ◽  
Greek Orthodox ◽  
Postwar America ◽  
Religious Identification ◽  
Greek Orthodox Church ◽  
The 1950S ◽  
The Cold War

This chapter examines the Greek Orthodox Church against the background of the 1950s. It highlights the rise in religiosity and the upward social mobility of the Greek American second generation. It also explains how the Greek Orthodox church, which was on the margins of conversations about religion in America, found ways to become more relevant and somewhat mainstream. The chapter analyzes the unexpected development and importance of the Eastern Orthodox Churches to the Cold War policies of the United States. It also looks into the combination of powerful causes, such as the Cold War, social dislocation in suburbia, anxieties of the atomic age, and deliberate religious marketing that led to a remarkable spread of religious identification in postwar America.

Between Idealism and Pragmatism

2019 ◽  
pp. 46-72
Author(s):  
Jing Jing Chang
Keyword(s):  
Hong Kong ◽  
Cold War ◽  
Documentary Film ◽  
Colonial Rule ◽  
Film Culture ◽  
Top Down ◽  
Integral Component ◽  
British Colonial ◽  
The 1950S ◽  
The Cold War

Chapter 2 traces the development of Hong Kong’s official film culture during the 1950s and 1960s within the contexts of the documentary film movement, the imperial legacy of the British Colonial Film Unit, and the colonial rhetoric of film literacy. In particular, it uses such Hong Kong Film Unit-produced short features as Report to the Gods (Dir. Brian Salt, 1967), starring local opera talent Leung Sing-por, as archival sources to argue that the colonial regime’s relationship with Hong Kong’s population was not a static vertical imposition of the “culture of depoliticization,” but one that was shifting and characterized by manipulation, misunderstanding, and negotiation amid bipolarized Cold War tension. I argue here that British Hong Kong’s involvement in filmmaking activities expose the top-down imposition of a colonial regime as well as the transformative nature of colonial rule during the Cold War period of the 1950s through 1960s. Official film culture should not be seen merely as tools of colonial governance or a means of indoctrinating subject audiences, but rather was part of an overall “strategy for survival” as well as an integral component in the process of screening the local Hong Kong “colonial” citizenry during the Cold War.

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