Bohemian Lifestyle Research Articles

Гедонизм в поэзии и имидже Генриха Сапгира

Genrikh Sapgir was an author of the “Lianozovo school” of Russian uncensored poetry. He held a dual position in the literature of his time, as he was a well-known official children’s writer, which provided his relatively good (for the USSR) standard of living, while simultaneously his whole “mature” period of poetry lay in the field of uncensored poetry, without crossing its borders into official poetry. In his personal life, however, Sapgir would often cross borders: in artistic circles his image was that of a hedonistic trouble-making dandy who loved feasts, women, and the bohemian lifestyle. This image did not fit within the frame of the common concept of the “illicit poet” due to Sapgir’s many acquaintances among official authors and his material wellbeing; however, it also challenged the conventions for official literature, because official artists’ personal behavior was constantly monitored by the party apparatus and labor unions. Hedonistic motifs played a very important role throughout his uncensored poetic oeuvre. It would be reasonable to assume that Sapgir’s behavior continued the traditions of “life creation” of the modernist period under the new sociocultural and political circumstances of the cultural underground in the late Soviet era.

COMPARISON OF THE OPERAS LA TRAVIATA BY VERDI AND LA BOHEME BY PUCCINI IN TERMS OF LOVE, LIFE AND DEATH THEMES

The operas La Traviata by Verdi and La Boheme by Puccini both depict Parisian female protagonists’ love stories entwined by a deathly disease, tuberculosis. In this paper, these operas are compared in terms of the composers’ point of views about life, especially love and death, about how they handle these two issues with different characters and perspectives. It can be concluded that they both make their audiences feel the pain of the characters deeply, thus the operas resemble each other in case of the emotions depicted. However, their methods of presenting these emotions differ ideologically. In Puccini’s world, life is simple, unexpected and random; while it is more complicated and special for Verdi. Being more serious, La Traviata uses romanticism and drama, in contrast to La Boheme which addresses simplicity and realism via the elements of Verismo. In La Boheme, the Bohemian life style is praised and emphasized while materialistic world is depicted to be meaningless. La Traviata takes place in luxurious environments with elitist high class society instead of poor and dirty neighborhoods of ordinary and low class people. Nonetheless, showing different perspectives of life, both La Traviata and La Boheme give the audience artistic joy and musical satisfaction, emotionally dragged by the love stories combined with the inevitable reality of death.

Theatrical Illness: Tuberculosis and HIV as Presented by "La Boheme" and "Rent"

Note: In lieu of an abstract, this is the article's first paragraph. "The musical Rent made its Broadway debut on January 25, 1996, a century after the opening performance of the opera, La Boheme. This correlation was a coincidence, though Rent draws significantly on the story of La Boheme, to the extent that a New York Times reviewer deemed it a "contemporary answer to Puccini's 'Boheme."' Each of these productions presents the troubles and tragedies of the bohemian lifestyle in a specific time and place-La Boheme in Paris during the 1830s and Rent in New York City during 1989. Disease, too, is a major theme in each: tuberculosis in La Boheme, and HIV in Rent. Each of the plays illustrate the different effects of the diseases with respect to conceptions of life and death, identity, spiritual promotion, and time. The historical and medical contexts of tuberculosis and HIV manifest in different perceptions of diagnosis and contagion. The extent of influence La Boheme had on Rent calls for a comparison of the representations of these two diseases in their respective historical contexts."

La evolución estética de la naturaleza en la obra poética de José de Siles

José de Siles (1856-1911) fue un autor que sufrió la bohemia y su lírica formó parte de un primer Modernismo español. Este trabajo pretende acercarse a su poesía y analizar cómo se ve alterado el tema de la naturaleza en la misma a través de una evolución estética que recorre el gusto clásico, romántico y moderno. Así, veremos cómo Siles recurre al locus amoenus para describirnos su aldea, Puente Genil, e idealizar la naturaleza siguiendo el modelo poético renacentista; cómo el paisaje natural refleja estados de la subjetividad del poeta, remitiéndonos a la Naturphilosophie y a la poesía romántica; y, finalmente, cómo abandona toda idealización clásica y evasión romántica de la naturaleza para hablar de su impureza y dejarla al margen, ya que el espacio que interesará a la poesía moderna será el de la ciudad.

Art in Science: The Artist and The Disease: The Exemplary Cases of Renoir and Toulouse-Lautrec.

Art in Science: The Artist and The Disease: The Exemplary Cases of Renoir and Toulouse-Lautrec.

Illness Experience in a Very Low Income/Poor District of Rio de Janeiro, Brazil: Tuberculosis, Medication Adherence and Common Mental Disorders

Introduction: Tuberculosis is a global health problem. Improving medication adherence is an important attribute concerning the outcome of tuberculosis treatment. This study investigates illness experience of patients belonging to a low-income district within Manguinhos catchment area. Narrative studies are able to unfold features concerning patient adherence and co-occurrence of depressive symptoms. Methods: Twenty-three patients under treatment were interviewed using McGill Illness Narrative Interview (MINI-McGILL), besides depression screening with “Self-Report Questionnaire-20” (SRQ-20) and “Beck Depression Inventory” (BDI). Results: Explanatory models disregarded airborne microorganism contagion, known but not considered relevant while bohemian or deviant lifestyle was rather perceived as a causal model. Patients mentioned contiguous events suggesting pneumonia or influenza misdiagnosis before final tuberculosis diagnosis (testing or suspicion). Therapeutic pathways were erratic, suggesting low literacy level and postponed or inadequate diagnosis accuracy. Emergency units or private services usually stood for primary care units considered first choice by planners. Expressions such as “dreadful/shameful disease” or “very heavy illness” acknowledged stigma. Research data detected the importance of social network role, highlighting the family through financial and affective support. Hopelessness and depression were closely related to illness suffering and adversities. The percentage of patients for positive common mental disorder and depression approaches 30%. Conclusion: Tuberculosis remains a stigmatizing disease. Building effective health services networks, comprising treatment facilities, community and family resources are very important to improve medication adherence. Effective tuberculosis management through health teams training seems necessary. Incorporating simple screening instruments for depression assessment might promote well-being and patient adherence.

Living Hand to Mouth: Why the Bohemian Lifestyle Does Not Lead to Wealth Creation in Peripheral Regions?

Using demographic data from a study of micro and small business owners operating in the crafts industry in rural Mid and West Wales, this paper identifies a mismatch between government business incentives and the bohemian values of local enterprises. This is highlighted as a contributing factor to explain why creative organizations in Wales do not generate the regional economic wealth expected from those working within the creative industries. Chaston [2008. Small creative industry firms: A development dilemma? Management Decision, 46(6), pp. 819–831] suggests that national policy relating to the economic development of regions is misguided because it is based on data collected in major cities. In periphery locations, many creative operations are concentrated in art and craft, yet little is currently known about these enterprises, and a limited amount of research has been conducted involving the craft sector in general. An initial investigation into micro and small craft enterprises is presented here, which indicates that although policy-makers view all creative firms as capable of economic development that will deliver growth and jobs [Oakley, 2011. In its own image: New labour and the cultural workforce, Cultural Trends, 20(3–4), pp. 281–289], the type of creative firm attracted to the periphery regions of Mid and West Wales does not necessarily exhibit the type of growth anticipated from the creative industries sector.

Drugs on the Internet, Part V: Absinthe, Return of the Emerald Mask

Absinthe, a famous liquor of the 19th century, has become immensely popular with its return to legality and mass marketing and drug culture enhancement of its purported unique effects. The electronic world of the Internet has greatly expedited the extent and depth of societal knowledge about the allure of the green fairy, absinthe. An extensive number of websites exists, representing 22 categories of topics about or using the word absinthe. Recent research has dispelled many myths about absinthe and its effects, yet beliefs about its magical powers persist, thus maintaining its reputation as an extraordinary experience within a bohemian lifestyle.

The persistence of bohemia

This paper is a reflection on bohemia, both as a historical and a contemporary phenomenon. It explores bohemia as an expression of and a response to the contradictions of both 19th-century bourgeois society and present-day neo-liberal society. It begins with an examination of the origins of bohemia in 19th-century Paris and follows its expansion and popularisation through the 20th century. The paper then focuses on Berlin as a paradigmatic example of present-day bohemia in its globalised and industrialised form; Berlin is significant in this context for two reasons: first, because it has become a global destination for followers of a bohemian lifestyle as described below, and second, because the concept of bohemia has been incorporated into property speculation and economic development policy discourses. Drawing on Barthes' definition of myth as an imaginary solution to unresolvable contradictions, Elizabeth Wilson characterises bohemia as a ‘cultural myth about art in modernity, a myth which seeks to reconcile art to industrial capitalism, to create for it a role in consumer society’ (Bohemians: The Glamorous Outcasts, 3. London: I. B. Tauris, 2000). The author is in agreement with Wilson, but would add that for contemporary bohemia, there is a further contradiction to be resolved: between the desire for a personally meaningful, exciting and glamorous lifestyle and the lucrative nature of this lifestyle for post-industrial capitalism. The author originally came from an arts practice background, then entered academic research as a way of trying to understand the incorporation of culture into capitalism. This text forms part of this investigation.

Queer Lit

6 worldliteraturetoday.org The importance of LGBT rights has been a prominent social and political lightning rod for decades. Today it is at the forefront of our politics, our history, and our culture. During this year alone, two of the world’s largest powers made political decisions that represent conflicting views on LGBT rights: the US Supreme Court reversed DOMA and effectively ended Prop 8 to make same-sex marriage legal, while Russia implemented a law that criminalizes homosexuality. The politics of homosexuality are as contentious as ever and the way governments address them more divisive than ever. LGBT literature reflects the ebb and flow of this acceptance and condemnation. For centuries, homosexual literature has been banned, hidden, and destroyed. These novels are examples of political rebellion and the power of the written word. Whether allowed to be heard freely or quieted by a culture of repression, these shouts and whispers are the voices of our community. Without apology, these novels demonstrate that we are taking our place in society with bravery and honesty. Lyric Novella Annemarie Schwarzenbach Isabel Cole, tr. This is the quintessential love story of lesbian falls for straight girl—only the narrator is a thinly disguised male version of the author, and it was published in 1933 Berlin. It is also an important societal and historical novella about a woman in love/lust with another woman during a time when homophobia was on the rise in nascent Nazi Germany. Schwarzenbach , who was Swiss, lived a lesbian, bohemian lifestyle during a difficult time, and this novella captures the desperation of the lovesick. The Diesel Thani Al-Suwaidi William Maynard Hutchins, tr. Originally published in Beirut in 1994, The Diesel was banned and didn’t appear in English until recently . Not only is this novella highly creative and original, it explores the role of sex and gender through concise and sparse language. “The Diesel” is a transgender entertainer, famous in his small Arab town and the environs , who bridges the gap between the older and younger generations. Al-Suwaidi balances the graphic explicitness with impassivity and honesty, and the narrative reads like a fable full of meaning and nuance. Layered and abstract, it is a novella that can be reread many times and each time will bring a new discovery about gender and the nature of sex. Lovetown Michal Witkowski Set in postcommunist Poland, Lovetown is a campy romp through the secret and wild underground of gay Poland. Full of wit and genderbending jargon, Witkowski introduces two queens, Patricia and Lucretia , who are being interviewed by a young journalist about their days living as homosexuals during communism . The ribald stories sashay forth with nostalgia and cattiness that is uproariously entertaining. On a journey to Lovetown, a gay hot spot on the Baltic seaside, Lucretia and Patricia clash with the politically correct new-world gays, which long for the lascivious, outrageous, and clandestine world of two queens in communist Poland. Monica Carter is project coordinator for Lambda Literary Foundation’s LGBT Writers in Schools program. She is also a judge for the Best Translated Book award and curates her own website, Salonica World Lit, dedicated to international literature. Her fiction has appeared in Strange Cargo, The Rattling Wall, Black Clock, Bloom, and Cactus Heart. She is finishing her novel, In the Life. What to Read Now Queer Lit Monica Carter notebook ...

Queer Lit

6 worldliteraturetoday.org The importance of LGBT rights has been a prominent social and political lightning rod for decades. Today it is at the forefront of our politics, our history, and our culture. During this year alone, two of the world’s largest powers made political decisions that represent conflicting views on LGBT rights: the US Supreme Court reversed DOMA and effectively ended Prop 8 to make same-sex marriage legal, while Russia implemented a law that criminalizes homosexuality. The politics of homosexuality are as contentious as ever and the way governments address them more divisive than ever. LGBT literature reflects the ebb and flow of this acceptance and condemnation. For centuries, homosexual literature has been banned, hidden, and destroyed. These novels are examples of political rebellion and the power of the written word. Whether allowed to be heard freely or quieted by a culture of repression, these shouts and whispers are the voices of our community. Without apology, these novels demonstrate that we are taking our place in society with bravery and honesty. Lyric Novella Annemarie Schwarzenbach Isabel Cole, tr. This is the quintessential love story of lesbian falls for straight girl—only the narrator is a thinly disguised male version of the author, and it was published in 1933 Berlin. It is also an important societal and historical novella about a woman in love/lust with another woman during a time when homophobia was on the rise in nascent Nazi Germany. Schwarzenbach , who was Swiss, lived a lesbian, bohemian lifestyle during a difficult time, and this novella captures the desperation of the lovesick. The Diesel Thani Al-Suwaidi William Maynard Hutchins, tr. Originally published in Beirut in 1994, The Diesel was banned and didn’t appear in English until recently . Not only is this novella highly creative and original, it explores the role of sex and gender through concise and sparse language. “The Diesel” is a transgender entertainer, famous in his small Arab town and the environs , who bridges the gap between the older and younger generations. Al-Suwaidi balances the graphic explicitness with impassivity and honesty, and the narrative reads like a fable full of meaning and nuance. Layered and abstract, it is a novella that can be reread many times and each time will bring a new discovery about gender and the nature of sex. Lovetown Michal Witkowski Set in postcommunist Poland, Lovetown is a campy romp through the secret and wild underground of gay Poland. Full of wit and genderbending jargon, Witkowski introduces two queens, Patricia and Lucretia , who are being interviewed by a young journalist about their days living as homosexuals during communism . The ribald stories sashay forth with nostalgia and cattiness that is uproariously entertaining. On a journey to Lovetown, a gay hot spot on the Baltic seaside, Lucretia and Patricia clash with the politically correct new-world gays, which long for the lascivious, outrageous, and clandestine world of two queens in communist Poland. Monica Carter is project coordinator for Lambda Literary Foundation’s LGBT Writers in Schools program. She is also a judge for the Best Translated Book award and curates her own website, Salonica World Lit, dedicated to international literature. Her fiction has appeared in Strange Cargo, The Rattling Wall, Black Clock, Bloom, and Cactus Heart. She is finishing her novel, In the Life. What to Read Now Queer Lit Monica Carter notebook ...

Yoruba traditions and African American religious nationalism

Exploring the Yoruba tradition in the United States, Hucks begins with the story of Nana Oseijeman Adefunmi's personal search for identity and meaning as a young man in Detroit in the 1930s and 1940s. She traces his development as an artist, religious leader, and founder of several African-influenced religio-cultural projects in Harlem and later in the South. Adefunmi was part of a generation of young migrants attracted to the bohemian lifestyle of New York City and the black nationalist fervor of Harlem. Cofounding Shango Temple in 1959, Yoruba Temple in 1960, and Oyotunji African Village in 1970, Adefunmi and other African Americans in that period renamed themselves Yorubas and engaged in the task of transforming Cuban Santeria into a new religious expression that satisfied their racial and nationalist leanings and eventually helped to place African Americans on a global religious schema alongside other Yoruba practitioners in Africa and the diaspora.Alongside the story of Adefunmi, Hucks weaves historical and sociological analyses of the relationship between black cultural nationalism and reinterpretations of the meaning of Africa from within the African American community.Part of the Religions of the Americas Series

Vagabundske figure v slovenski likovni umetnosti in literaturi na začetku 20. stoletja

The article explores the relationship between visual and literary motifs in Slovenian painting (and illustration, graphics, and drawing) and literature (both prose and poetry) at the beginning of the twentieth century. It uses examples to show the popularity and rich variety of vagabond figures and their transformations and reciprocity at the level of the painting/text. However, a distinctive feature of this article is that it places the subject within the context of hermeneutics, a method that has not been used in Slovenian art history. In addition, it also reveals the symbolic complexity of the vagabond figure in the context of writers, other works, and social-historical circumstances. The emphasis is placed on artists that showed enthusiasm for this figure as a subject during the Belle Époque and also those that followed the very popular bohemian lifestyle in their everyday lives. The reception of Slovenian folk and traditional motifs from the past produced visual and semantic oscillation in which the phenomena of vagabond figures were systematized and interpreted. Many painters (e.g., Gvidon Birolla, and Maksim Gaspari) and writers (e.g., Oton Župančič, Cvetko Golar, and Ivan Cankar) clung to the Slovenian tradition with romantic overtones and, in line with their artistic atmosphere, integrated vagabond figures into typical Slovenian landscapes or environments. Some of them followed Symbolism and modernized the figures with autobiographical references (e.g., Fran Tratnik). The situation among the youngest generation of artists in particular showed that they managed to “escape” from copying traditional motifs and instead used them in a modern form in the “here and now” (e.g., Ivan Cankar). The discrepancy between the lack of the vagabond theme in oil painting and strong diversification in illustration, drawing, graphics, and literature could be explained by consumers’ perceived difference between “high” and “popular” art.

Vagabundske figure v slovenski likovni umetnosti in literaturi na začetku 20. stoletja

The article explores the relationship between visual and literary motifs in Slovenian painting (and illustration, graphics, and drawing) and literature (both prose and poetry) at the beginning of the twentieth century. It uses examples to show the popularity and rich variety of vagabond figures and their transformations and reciprocity at the level of the painting/text. However, a distinctive feature of this article is that it places the subject within the context of hermeneutics, a method that has not been used in Slovenian art history. In addition, it also reveals the symbolic complexity of the vagabond figure in the context of writers, other works, and social-historical circumstances. The emphasis is placed on artists that showed enthusiasm for this figure as a subject during the Belle Époque and also those that followed the very popular bohemian lifestyle in their everyday lives. The reception of Slovenian folk and traditional motifs from the past produced visual and semantic oscillation in which the phenomena of vagabond figures were systematized and interpreted. Many painters (e.g., Gvidon Birolla, and Maksim Gaspari) and writers (e.g., Oton Župančič, Cvetko Golar, and Ivan Cankar) clung to the Slovenian tradition with romantic overtones and, in line with their artistic atmosphere, integrated vagabond figures into typical Slovenian landscapes or environments. Some of them followed Symbolism and modernized the figures with autobiographical references (e.g., Fran Tratnik). The situation among the youngest generation of artists in particular showed that they managed to “escape” from copying traditional motifs and instead used them in a modern form in the “here and now” (e.g., Ivan Cankar). The discrepancy between the lack of the vagabond theme in oil painting and strong diversification in illustration, drawing, graphics, and literature could be explained by consumers’ perceived difference between “high” and “popular” art.

The life cycle of New York’s creative districts: Reflections on the unanticipated consequences of unplanned cultural zones

The history of New York’s creative districts from Greenwich Village in the early 1900s to Bushwick today shows that the unanticipated consequences of unplanned or naturally occurring areas where artists work and live are higher housing prices, more intensive capital investment, and eventual displacement and gentrification. Despite predominant motifs of grittiness and transgression, the esthetic representation of “difference” in creative districts attracts non-creative cultural consumers who develop a taste for an authentic, bohemian lifestyle. Cultural entrepreneurs, some of whom are creative producers themselves, enable knowledgeable consumers’ entry into the creative district, followed eventually by the media, more consumers, and real estate developers. The little state regulation of artists’ housing that exists does not serve the stated goal, for the building of a district’s reputation as “creative” results in group out-migration to other places.

Symphony in Flesh Colour and Pink: Portrait of Mrs Leyland by James Abbott McNeill Whistler

<i>Symphony in Flesh Colour and Pink: Portrait of Mrs Leyland</i> by James Abbott McNeill Whistler

Three Poems by Zeng Dekuang

Zeng Dekuang was born in 1969 in Hunan Province, and while he is college educated, he resigned from his job in 1992 to take up the bohemian lifestyle of a drifting singer and a poet, making money busking under overpasses and on street corners. While Zeng's self-imposed vagabond lifestyle has enriched his poetry and folksongs with intimate details about China's urban underbelly, he remains set apart from the migrants, factory workers, and sex workers who populate many of his poems and songs. The uneasy position of this poet as both a collegeeducated author and a vagabond drifter reveals a contentious social space where his readers can witness firsthand the porous walls between poetic responsibility and agency. The problematic nature of prostitutes in his work speaks to this tension: Is Zeng merely a consumer or an ally, a voyeur or a witness, and does his work further exploit or evince the gaping vulnerability of China's urban poor?

Between Cultured Young Men and Mischievous Children: Youth, Transgression, and Protest in Late Nineteenth-Century Mexico

This article traces the progression of "youth" in Mexico from 1867 to c. 1900. It argues that the historical "images" of youth that developed during this period are telling as to youth culture, but also reveal much concerning greater societal and national aspirations. As this burgeoning vision of youth took shape in the late nineteenth century, its preeminent expression was the preparatoriano, or the student of the National Preparatory School. This "positivist image" of youth, hitherto overlooked in the historiography, was particularly celebratory and bespoke the transformative nature of the modern state. This group of young students, however, was not homogenous. As the restored nation tried its find its course (through local notions of liberalism and positivism), different notions of youth were imagined, experienced, further defined, and contested. This relationship between official ideology and reality was evident in the subcultural behavior of young men and the reactions these contested images generated among the old or the parent culture. This essay traces the contested relationship between official representation and subculture in the rise of student activism, the appropriation of new and public spaces, the creation of innovative style, and the celebration of an illicit bohemian lifestyle, on the one hand, and in public reaction, on the other.

Henri de Toulouse-Lautrec

This assembly celebrates the birthday of the famous French post-Impressionist painter who recorded the Parisian bohemian lifestyle

Lifestyle Meets Market: Bohemian Entrepreneurs in Creative Industries

By linking lifestyle studies with creative industries research, this article opens a new perspective on creativity and innovation management. We argue that artists in the creative industries have to bridge the gap between artistic work and the economic need for self‐management, and that a bohemian lifestyle essentially supports them in doing so. The bohemian lifestyle, which is characterized by a devotion to art for art’s sake, is an essential source for work motivation of artists and an increasing number of other creative workers. The article draws upon an empirical study into artistic work and employment in German theatres. Enacting a bohemian lifestyle enables actors as ‘bohemian entrepreneurs’ to integrate intensive self‐management and self‐marketing as well as subordination of private life to work into their artistic work life. Analysing the link between lifestyle and creative work is crucial for understanding the way in which creative workers become artists and, at the same time, entrepreneurs of their creative talent.