\u3ci\u3eBlancanieves se despides de los siete enanos\u3c/i\u3e: Snow White Says Goodbye to the Seven Dwarfs

Original work by Leopoldo María Panero Así se fundó Carnaby Street, 1970 In Poesía Completa 1970-2000 Túa Blesa, Colección Visor de Poesía, 200

\u3ci\u3e20.000 Leguas de viaje submarino\u3c/i\u3e: 20,000 Leagues Under the Sea

Original work by Leopoldo María Panero Así se fundó Carnaby Street , 1970 In Poesía Completa 1970-2000 Túa Blesa, Colección Visor de Poesía, 200

Peacock Revolution: Mainstreaming queer styles in post-war Britain, 1945-1967

In the late 1950s, Carnaby Street designer and retailer John Stephen began a systematic program to decouple himself, the products he sold, and the very notion of male fashionability from associations of effeminacy and homosexuality. Of course this project was never complete, but nor did it need to be. Carnaby Street shops, beginning with those of John Stephen, traded on a sense of playful camp that distinguished them from what were seen as old-fashioned or short-back-and-sides fashion establishments and worldviews. This article examines how producers and retailers of queer styles interacted with 1950s and 1960s consumers, and how these consumer interactions illuminate the changing relationship between homosexuality and hetero-normative constructions of masculinity in mid twentieth-century Britain

‘Ten Years Ahead of His Time’: The East End Elegance of Martin Peters

Martin Peters was a successful footballer whose public persona matched the way he played the game, without fuss or fanfare. A key English player of the 1960s, he does not usually feature in discussions about the connection between fashion and football in that decade. The focus is usually placed on players with celebrity status, especially George Best. This paper, working at the intersection of sport and fashion history and cultural studies, broadens the discussion by giving consideration to the non-celebrity-type player. This is done via an examination of the off-field dress and style of Martin Peters. The case is made, from studying the sartorial presentation of Peters, that we can recognize a connection between the player and other young men who favoured a low-key identification with the Mod culture of the time. This position supports a shift within the cultural historical study of British youth and masculine identity from the spectacular to the unspectacular

Punk’s dead knot: Constructing the temporal and spatial in commercial punk imagery

This article analyses two deliberately constructed visual artefacts broadly classed within the punk style; a photograph from 1976 and a 30-second commercial from 2016. The period of analysis chimes with the current celebrations of 40 years of punk as seen within the city of London. Whilst the article presents overview considerations of punk as a (once) possible confrontational cultural discourse, I also develop a detailed visual methodology looking at embedded visual codes and cultural forms from both the high and the low. By considering the photograph within a flux of differing temporalities, and the commercial as a potential sequence of heavily coded still montages, I examine how the space and time of punk has been twisted for various purposes

Anticipations of the New Urban Cultural Economy

This essay is a distinctive response to urban creativity in London during what might be described as the long 1960s. Here the emphasis is neither on the 1960s as cultural revolution, nor on the period as another twist in a long tradition of urban creative activity, but rather on the way in which many of the elements of what has been described as the new cultural economy of cities were anticipated in the developments of the period. Our primary focus here reflects our interests and research into the development of the fashion industry and broader fashion culture of the West End in the post-war period, but our more general argument applies to a wider range of cultural industries that developed in the city during the period. Examining the history of London in the 1960s alongside consideration of the new urban cultural economy literature can help to achieve three outcomes. First, this analysis of the urban creative economy that developed in London from the late-1950s onwards complicates what has become a dominant reading of the periodisation of the interrelations between culture, economy and certain key cities. We consider this periodisation model in the following section. Secondly, ideas developed from the urban cultural economy literature can contribute new perspectives to our understanding of London in the 1960s. Finally, this exercise can also be used to reflect on contemporary developments, indicating some of the specificities and limitations of claims about contemporary urban creative sectors

Presencias clásicas en la poesía de Leopoldo María Panero.

Sin resume

East Yorkshire College of Further Education: report from the Inspectorate (FEFC inspection report; 56/94 and 04/99)

Comprises two Further Education Funding Council (FEFC) inspection reports for the periods 1993-94 and 1998-9

The success of luxury brands in Japan and their uncertain future

The Japanese are the world?s largest individual consumers of luxury brands and form the second largest market for luxury goods after the US. The Japanese were the driving force behind the exponential growth of the European luxury industry and the resulting ?democratization of luxury?. This concept of giving everyone access to luxury branded goods is a paradox because it abandons the exclusivity that was the original basis of the European luxury industry in the hands of skilled designers and craftsmen. By making luxury branded goods widely accessible to most consumers they run a major risk of becoming simply too ?common?. The 2007-8 economic crisis adversely affected the luxury market, producing a general backlash against ?conspicuous consumption?. In Japan, as in most countries in the world, the crisis reduced consumers? discretionary spending, but in addition it also accelerated the fundamental shift in the attitude and behavior of Japanese luxury consumers.Japanese consumers of luxury brands, Japan the largest luxury market in the world, conspicuous consumption, democratization of luxury, luxury brands as status symbols, luxury brands as badges of economic success, parasite singles