1970s Culture

En este artículo se estudian cuatro óperas rock publicadas en Argentina a fines de 1972: Sudamérica o el regreso a la aurora, de Arco Iris; Cristo Rock, de Raúl Porchetto; Tontos (Operita), de Billy Bond y la Pesada del Rock and Roll; y Ohperra vida de Beto, de Materia Gris. A través del análisis de sus canciones y de una serie de publicaciones que dieron cuenta de cómo se escucharon estos discos, el trabajo releva algunos de los esfuerzos más manifiestos que realizaron los rockeros argentinos para poner en diálogo sus ambiciones musicales con los discursos contestatarios y las expectativas de transformación social, que por aquellos meses se intensificaron a un nivel sin precedentes en la historia argentina. ¿De qué modo participó por entonces el rock argentino del proceso de movilización social y de radicalización política en curso? ¿Cuál podía o debía ser el rol del rock en aquellos días de politización según los propios músicos, los fanáticos rockeros y los militantes políticos? Este texto ofrece algunas respuestas a esas preguntas y, de ese modo, aporta a la comprensión de los vínculos entre juventud, música y política en la Argentina de los años setenta.

Der Aufsatz widmet sich der Präsenz des Disco-Genres in der DDR in den 1970er Jahren. Trotz kulturpolitischer Bemühungen, den Einfluss der als bedrohlich erachteten westdeutschen Diskothekenszene zurückzudrängen und die Diskothek als Raum zu kontrollieren, war das Disco-Genre in der DDR in verschiedenen Dimensionen präsent. Angelegt als Mikrostudie dient die Fernsehshow Ein Kessel Buntes als Hauptressource und Untersuchungsfeld, anhand dessen Erscheinungsformen und Rezeptionsvorgänge des Genres in der DDR herausgearbeitet werden. In der Show traten Disco-Künstler*innen aus dem Westen auf, wurden westliche Disco-Tracks vertanzt oder in Übersetzungen gegeben, sowie erklangen Tracks von DDR-Musiker*innen, die die etablierte ‚Disco-Formel‘ adaptierten. Eine Analyse der Auftritte nimmt deren musikalische, textliche und choreographische Dimension in den Blick. Vor dem Hintergrund der Konnotationen des Disco-Genres in den USA und der BRD, den Produktionsbedingungen und der Erschließung der Diskothek als Raum entfaltet sich ein ambivalentes Bild der Ost-West-Beziehung.

English version:
The article examines the presence of the disco genre in the German Democratic Republic (GDR) in the 1970s. Despite cultural policy efforts to limit the impact of the West German disco scene and to control disco as a space, the disco genre was nevertheless present in the GDR in various ways. The television show Ein Kessel Buntes serves as the article’s field of investigation and main resource for examining manifestations and processes of reception. On this show, Western artists performed disco, the 'Fernsehballett' danced to Western tracks or translated versions, and GDR musicians performed their own songs adapted to the established 'disco formula'. The analysis of the performances takes the musical, textual, and choreographic dimensions equally into account. Viewed within the context of disco’s connotations in the USA and West Germany, the conditions of music production, and the development of the disco as a space, Ein Kessel Buntes reveals an ambivalent picture of West-East relations.

Negli anni Settanta Roma rappresenta un laboratorio artistico d’avanguardia, a cui si affianca un momento politico straordinario con Giulio Carlo Argan sindaco. Al tempo stesso, la città si trova a fare i conti con un assetto urbanistico-sociale problematico, derivato dalle recenti e rapide trasformazioni del centro e della periferia. Lo spazio urbano, inteso come «spazio sociale», diviene per gli artisti un orizzonte in cui testare i limiti della disciplina; un’area in cui dare avvio a processi di reinvenzione creativa insieme alle comunità. Rintracciando i punti di discontinuità e di contatto con il panorama nazionale, il volume si propone di ricostruire le esperienze artistiche romane legate all’operatività estetica, tendenza teorizzata da Enrico Crispolti e presentata alla Biennale di Venezia del 1976. I casi indagati – alcuni per la prima volta oggetto di un approfondimento critico – rispecchiano l’originalità e la complessità della situazione romana: dalle iniziative promosse dal Comune (gli interventi a piazza Margana, l’Estate romana), ai collettivi che si confrontano con la dimensione urbana (Ufficio per l’immaginazione preventiva, Non gruppo-Erostrato, poi Frazione Clandestina), agli esempi radicati nel territorio con una forte vocazione sociale (Cooperativa Alzaia e Operazione Roma Eterna). Osservare la capitale attraverso il rapporto tra arte e città equivale allora a indagare, secondo nuove coordinate, Roma negli anni Settanta e la sua natura di “palinsesto”.

Cemalettin Canlı’nın uzun bir araştırma süreciyle tarihe not düştüğü ve NotaBene Yayınları’ndan geçtiğimiz aylarda yayımlanan Gölköy’ün Devrimci Yolu: Caniklerden Bir Direniş Öyküsü kitabı, Türkiye’de sosyalist hareketin kırsal alanlardaki örgütlenme süreçlerini, yerel halkın politikleşmesini ve devrimci mücadelenin sosyolojik dinamiklerini inceleyen bir çalışma olmasının yanı sıra, 1970’li yılların toplumsal çalkantılarında, Karadeniz’in dağlık coğrafyasına sıkışmış bir ilçede filizlenen devrimci hareketin, yerel halkın sosyalizme ve örgütlü mücadeleye yönelişini gözler önüne sermesi açısından da dikkate değerdir. Kitap, Fatsa’nın gölgesinde kalmış ama ona ruh veren, etrafındaki ilçelerle birlikte şekillenen sol hareketin tarihini yeniden keşfetmemize olanak tanıyor.

Bértola is recognized in the field of electroacoustic composition and, as Aharonián and Paraskevaídis have pointed out, his work is characterized by timbral exploration, distinctive textures, use of silence and repetition, austerity of materials, and a structure based on repetitive units without development.

See the CfP: https://www.soziopolis.de/veranstaltungen/workshop/beyond-the-family-spatiality-modes-of-reproduction-and-forms-of-life.html, and: https://www.leuphana.de/fileadmin/user_upload/Forschungseinrichtungen/CCS/Images/Booklet_Beyond_the_Family.pdf

En el año 1986 se produjo una de los más fatídicos e impactantes accidentes nucleares conocidos, concretamente en la ciudad industrial de Chernóbil, al norte de Ucrania. Dentro de los profesionales desplegados por el gobierno soviético destacó la figura de Valeri Legásov, reconocido químico inorgánico quien jugó un rol fundamental tanto en la minimización de los daños ocasionados por la radiación, como en las secuelas políticas del accidente.

Marc Camille Chaimowicz’s groundbreaking installation Celebration? Realife was originally created for ‘Three Life Situations’ at Gallery House London in 1972. The work is a strange hybrid of scatter environment, a theatrical stage and a performance piece. Meant as a critique of modernist objectivism, Celebration? Realife is also a consciously messy and ambivalent reaction to the clean conceits of Conceptualist and post-Minimalist tendencies.
Tom Holert argues that with Celebration? Realife, Chaimowicz makes a strategic and important meditation on the changing role of the artist, who in this defining work simultaneously becomes art director, choreographer and participant. Celebration? Realife probes the relationship between art, design, popular culture and performance at a moment when these disciplines, genres and milieus hardly ever met. Holert shows how this influential work inventively anticipates and helps to define an important and increasingly popular tendency in art.

An exploration of the fluctuating fortunes of Sunderland in the late 1970s, chronicling a period brimming with an intoxicating concoction of hope, excitement, disappointment, and tragedy.
The story travels from the fall of ‘Messiah’ Bob Stokoe, and the wasted opportunity to appoint former son Brian Clough, through Jimmy Adamson’s troubled reign that included a youth-inspired revival with its cruel finale, and the gloomy malaise that accompanied second-tier stagnation.
Adamson’s abrupt resignation sparked an embarrassingly theatrical manager hunt as the club worked their way through a list of big-name targets, and the ensuing promotion push under ad hoc bosses sent supporters spiralling on an emotional rollercoaster.
Despite the tribulations, entertainment value was high, and the intelligent narrative is supported with authentic dialogue and reminiscences. A plethora of North East connections are spotlighted, and a bountiful blend of characters and events from the wider scene are weaved throughout (managers, players, sport, popular culture, and politics).
As well as providing essential reading for local supporters, the book generates widespread recognition for all interested in this fascinating era.

This essay revisits the 1978 Venice Biennale, titled From Nature to Art, from Art to Nature, to discuss the "gender neutral" use of both notions within the exhibition's official discourse at the time. Against the backdrop of the 1970s, amid the momentum of second-wave feminism, initiatives concomitant to the exhibition discerned and challenged the persisting, though implicit, gendered implications of both art and nature, complicating the Biennale's main narrative. These initiatives included self-organized shows by feminist collectives, namely the Gruppo Femminista Immagine from Varese and Donne/Immagine/Creatività from Naples. Informed by a Marxist perspective, both exhibitions, I argue, engaged with reproductive labor in original ways to contest and dismantle traditional assumptions of an inherent connection between women and nature.

Objective: Analyze NASA's efforts to "sell" both its mission and its successes from its origins in 1958 to the present. Methods. Use public opinion polling and qualitative sources to establish change over time. Results. Study suggests that NASA's public support was less important than most have previously asserted, and that the overall activities of NASA have been advanced by a small base of supporters, challenged by a small group of opponents, and sustained by a larger number of people who accept a status quo in space exploration. Conclusion. A general public lack of support for expending many dollars on spaceflight has been a fundamental reality of NASA since its beginning. It is not changing, and probably not changeable, in the predictive future. Accordingly, NASA's quest for human spaceflight's popular appeal remains an elusive goal.

This article examines And Justice for All’s (1979) peculiar spin on the courtroom drama. Though the film embraces a mode of seriousness to portray sexual violence and an unjust criminal justice system, it also includes an undercurrent of dark comedy and absurdity. The article shows how the film incorporates dark-comedic absurdity to emphasize how severely malfunctional the criminal justice system is. While the film reproduces the lawyer-as-hero trope known from earlier eras in American film history, it is very disillusioned with the state of the criminal justice system as such. In this sense, it gives viewers a recognizable lawyer-hero to root for even though the film invites viewers to be very skeptical of the state of the system.

This paper analyzes the act of 'thalaikoothal,' performed on ill and infirm older people in the southern part of the state of Tamil Nadu, India, with reference to two Tamil films, K.D. (2019) and Thalaikoothal (2023), which portray the horrors of the practice. A kind of involuntary euthanasia, the ritual continues to have covert social acceptance as exemplified in the films, favoring the common stereotype that marks aging bodies as unproductive and unworthy of living. Therefore, this article explores the aging bodies in the films as sites of power, controlled by death enforced through Thalaikoothal, employing Mbembe's concept of 'necropower.' It also examines the effects of the practice on the elderly, who are compelled to prepare themselves for a forced death. The study further identifies the underlying factors contributing to the prolonged existence of Thalaikoothal even in the present times.

The 1960s and 70s formed the wilderness years of the Christmas movie. Sandwiched between the genre’s post-war golden age and its commercial revival in the 1980s, these decades have come to be regarded as the Bermuda Triangle of festive cinema — where many features have become lost in the mists of Christmas past and have subsequently been forgotten by later generations.

Far from a creative backwater, however, this period would bear witness to some of the most fascinating, unconventional and experimental Christmas movies ever to reach the big screen, with features such as "The Apartment", "The Lion in Winter" and "Black Christmas" all subverting expectations of the holiday season to produce compelling narratives and memorable themes through wildly different artistic approaches.

From the author of "The Golden Age of Christmas Movies", "A Righteously Awesome Eighties Christmas" and "A Totally Bodacious Nineties Christmas", this book considers the festive cinema of the sixties and seventies in detail, taking a look at the movies that came to define this unpredictable period in recent history while also reflecting on those features that broke the mould in entirely different ways — including "Santa and the Ice Cream Bunny", "The Magic Christmas Tree" and (perhaps most infamously of all) "Santa Claus Conquers the Martians". When these tempestuous decades carried the torch for Christmas films, the features on offer may rarely have been traditional, but even today they remain captivating, intriguing and very difficult to ignore for those who are willing to revisit them.

Risk-takers, rule-breakers, troublemakers. The men and women who made American motion pictures during the 1970s were anything but safe or prudish when it came to tackling subjects that were not only controversial but also relatable to millions of audiences who, only a few years earlier, had lost faith in the Hollywood studio system to accurately reflect modern-day life. From relatively seasoned auteurs like Robert Altman and Hal Ashby, who had apprenticed within the old system during the 1960s before bringing their idiosyncratic visions to the screen a decade later, to the many film school-educated "movie brats" that burst onto the scene with their own unique takes on established genres (on view in Martin Scorsese's directorial debut Who's That Knocking At My Door [1967] Steven Spielberg's white-knuckle road movie Duel [1971], and Francis Ford Coppola's epic gangster film The Godfather [1972]), talent was abundant throughout that period, both behind the camera and in front of the lens. Indeed, some of the greatest actors to have graced the screen-Ellen Burstyn,

Since the very beginnig of Gorbacev’s secretariat, the Italian Communist Party strongly supported  his  “new thinking” in international politics as well as his economic and political  reforms in the USSR.This chapter examines the attitude of the  Italian Party mainly through the comments of its daily and its weekly, but also pays attention to the archives of its leading organs.

Resumo: A década de "1970" se apresenta como um momento de tensões e reelaborações epistêmicas e epistemológicas nos campos das artes, das ciências, da política e da sociedade. Índices de repetições e transformações, em comparação com a epistemologia de "1800", apontam para diferenciações das formas de se relacionar com a realidade. Com isso, abordaremos questões levantadas por certa crítica literária brasileira e argentina no que se refere à centralidade do real e papel do ficcional para o debate sobre a representação de experiências para a literatura de 70. Por fim, apontaremos como algumas dimensões trabalhadas pela crítica podem sugerir uma mudança na forma de elaboração dos "espaços de experiência" e "horizontes de expectativa" do período.

The 1976 soap opera parody series Mary Hartman, Mary Hartman was created by Norman Lear and aired on a network of independent television stations. It presented an America where women were breaking out of their traditional gender roles for the first time and pursued full careers.  The title character takes the audience on a full journey from housewife to breadwinner and community leader.  Using Simone de Beauvoir’s book The Second Sex as a guide, this qualitative contextual analysis examines Mary’s journey through her marriage, motherhood, social life, love life and career.  It also looks at how the series portrays feminism in American society in the mid-1970s and finds that Mary was a strong role model for American audiences.

‎„Złota era” polskiej SF zakończyła się na dobre w roku 1989. Tzw. transformacja systemowa, ‎która zaczęła się w tymże roku, wpłynęła negatywnie także na polską SF. Monopolistyczne ‎pozycje utraciły wówczas państwowe wydawnictwa książkowe, a nowo powstałe, na ogół ‎niewielkie, efemeryczne prywatne firmy nastawione głównie na zysk wydawały masowo ‎zachodnią literaturę SF, na ogół niewysokich lotów ‎. Z czasem jednak rynek okrzepł i zaczęło ‎się liczyć kilka poważniejszych wydawnictw, wśród których należy wymienić oficyny takie jak ‎np.: Prószyński i S-ka, SuperNowa, Amber, Rebis, Zysk i S-ka oraz Solaris‎.

This paper considers the contributions of Joy Division, Martin Hannett, and Peter Saville in creating an integrated and mutually reinforcing presentation of music, lyrics, production, and visual design. This strange partnership of very different individuals operated by instinct, with limited and often conflicted communications. Nonetheless it produced powerful and lasting artefacts of popular music. This was achieved through the framing of spaces, both literal and figurative. These potential fields required for their completion an active listener, a participant in an almost alchemical operation of estrangement. This paper provides close examination of the studio production of Martin Hannett and contributes the most sustained analysis of Ian Curtis’s lyrics to date. This version has been revised from original publication as a chapter in "Heart and Soul: Critical Essays on Joy Division" (Rowman & Littlefield, 2018).

In the summer of 1974, the 7:84 (Scotland) Theatre Company spent two weeks in Ireland performing The Cheviot, The Stag and the Black, Black Oil, an innovative, radical “ceilidh entertainment” that outlined a history of exploitation in the Highlands and Islands of Scotland, from the Battle of Culloden in 1746 to the discovery of oil in the 1960s and 70s. Having received critical and popular acclaim throughout Scotland during two extensive tours in 1973, the Cheviot then generated a lot of excitement in Ireland, both in its form and with its central messages of popular empowerment and the public ownership of mineral wealth. This article outlines the background to the 7:84 Company’s visit, the reaction in Ireland to Cheviot in 1974, and its short to medium-term impact on Irish theatre and wider debates around natural resources on the island.

Kurz vor Mitternacht am 2. April 1968 bricht im Kaufhaus M. Schneider auf der Zeil ein Feuer aus. Kurz darauf ertönt der Feueralarm im Kaufhof an der Hauptwache. Menschen werden nicht verletzt, der Schaden beträgt nach heutigem Geldwert rund eine Million Euro. Unter den Tätern sind Andreas Baader und Gudrun Ensslin. Beide werden zu drei Jahren Zuchthaus verurteilt. Die Brandanschläge auf die Frankfurter Kaufhäuser sind die Geburtsstunde der Roten Armee Fraktion – das wissen wir heute. ..

Seguimos con otra entrega de la serie "incursiones cotidianas", esta vez dedicada a Usera, un distrito con mucha personalidad, antaño dedicado a la recepción de emigrantes de otras zonas de España y hoy transformado en el modernillo barrio chino de la capital, lugar privilegiado de propuestas gastronómicas y artísticas. En esta ruta mañanera vamos a circunvalar la zona central del distrito dejando fuera los barrios de Orcasitas y Orcasur, que ya exploramos en otra entrada. Al tener mucha chicha a pesar de no llevar más de tres horas de caminata, voy a dividir el recorrido en dos cómodos fascículos, por eso de no aburrir al personal. Salgo de la boca del metro de Plaza Elíptica, frente al colegio San Viator. Gente por todos los lados, ambiente frenético; cruzo la A-42 hasta alcanzar el inicio de la calle de Marcelo Usera, vía principal del distrito que lo divide en dos, de oeste a este.

Kitap yabancı kaynaklara dayanarak şunları açıklıyor: Kıbrıs Anadolu'nun bir parçasıdır. Anavatan Türkiye'nin Yavruvatan'ıdır. Kıbrıslılar Anadolu kökenlidir. Osmanlılar 1571'de adayı fethettiler. Halkın etnik kökenine, dinine, mezhebine karışmadılar. Barış içinde yaşamalarını sağladılar. 1878'de İngilizler geldikten sonra İngilizlerin ünlü "böl ve yönet" siyasetiyle sorunlar başladı. Çoğunlukta olan Haksızlıklar ve baskılar sonucu Türkler ve toprakları azalmaya başladı.  1960'ta bağımsız Kıbrıs Cumhuriyeti kurulduktan sonra Kıbrıslı Rumların Kıbrıs'ı Yunanistan'a katma çabaları arttı, kasıtlı ve sistemli bir soykırım başladı. 15 Temuz 1974'te Nikos Samson Kıbrıs'ta bir darbe yaparak cumhurbaşkanlığını ilan etti. Bunun üzerine Türkiye 20 Temmuz 1974'te Barış harekatını yaptı. O günden bu yana adada barış hüküm sürüyor. BİR DAHA ASLA o acı günlere geri dönülmeyecek. Türkler şimdiye dek soykırım davası açmadılar. Bir an önce açmalılar. Ve yaşamakta olan suçlular cezalarını çekmeliler.

Περίληψη εισήγησης στη διημερίδα «Μεταναστεύσεις, Προσφυγιά, Παλιννόστηση: Μετακινήσεις πληθυσμών και η διαδικασία ένταξης στη νέα πατρίδα», Σύλλογος Μεταπτυχιακών και Διδακτορικών Φοιτητών/-τριών Ιστορίας και Αρχαιολογίας ΕΚΠΑ, Ιστορικό Αρχείο Πανεπιστημίου Αθηνών, Αθήνα, 19-20 Μαΐου 2022.

In 1972, San Francisco was the world’s first city to adopt an urban design plan, which has been in effect until today. This plan is both historical and contemporary. It occupies an important position in the history of modern urban design. Philosophically and mythologically, it was representative of an urban design paradigm shift from modernism to postmodernism at the time of its birth. More than half a century later, it incurs a critical question: is this plan still relevant to addressing the urban problems today? In this paper, I examine the plan’s innovation and legacy and discuss its adaptability to the new urban environment. I argue that while the plan’s postmodernist principles and approaches are still important, it is time to debate on the validity and applicability of the plan—and what it represents in the urban design discipline and profession—to explore new directions of urban thinking for a changing urban environment.

The aim of this paper is to investigate the significance of the Pound-Fenollosa manuscripts for the verse plays of W. B. Yeats. Yeats stayed with Pound in Stone Cottage in the winter of 1914_15. This was the first time he read Fenollosa\u27s posthumous manuscripts of Noh plays. Certain Noble Plays of Japan was published, with a preface by Yeats, translated by Fenollosa and redacted by Pound, two years later. This published version became the definitive text, incorporating Yeats\u27 suggestions and advice. In the first chapter of the paper, Yeats\u27 relationship with Japanese artists in London will be dealt with, especially, the friendship between Yeats and Noguchi Yone. In 1914, many Japanese literary and artistic figures were living in London. Some of them had moved there to escape the war spreading all over Europe, including the well-known painter, Fujita Tsuguji. The figures I will discuss here are Noguchi Yonejiro (Yone) and Ito Michio with whom Yeats became closely acquainted....

Dieser Aufsatz beginnt mit der kritischen Analyse der aktuellen Politik und befasst sich dann mit der Suche nach den Ursachen dessen, was wir sind. Es beginnt also damit, den Leser in die Lage zu versetzen, in den innen- und außenpolitischen Entscheidungen der Regierungen das verborgene wirtschaftlich-militärische System namens Gladio Stay Behind, mit dem Italien seit dem Kalten Krieg verbunden ist, zu erkennen und zu entlarven. An dieser Stelle versucht der Band anhand der Rekonstruktion einiger bekannter Massaker, den wahren Verantwortlichen auf die Spur zu kommen, indem er neue Dokumente aus dem Ausland sichtet. Phantom Neonazis ist daher eine historische Rekonstruktion, die Licht auf die Einmischung der kommunistischen und amerikanischen Geheimdienste in Italien während des Kalten Krieges werfen soll, aber auch mögliche Auswirkungen auf den aktuellen Krieg in der Ukraine haben soll. Wir erkennen einen Anstifter des Terrorismus der 1960er und 1970er Jahre, die Sowjets, und ein Motiv: der atomaren Bedrohung durch die Amerikaner entgegenzuwirken, über deren tatsächliche Konsequenz die kommunistischen Spione detaillierte Informationen aus Italien lieferten, die völlig neu waren zu uns. Doch am Ende, in der letzten Phase der Massaker, scheint Gladio die Oberhand zu gewinnen, übernimmt das Kommando über einige Zellen der Roten Brigade und lenkt die terroristischen Aktivitäten auf Zwecke, die noch nicht vollständig geklärt sind.

A contribution to 'That Was the Future That Was - 1970', a special edition of Foundation, ed. Paul March-Russell.

Arguably, the 1970s fractured British identity; Britishness was already bein reconstructed as 'pre-war', 'inter-war and 'post-war when the Sixties happened.

AAH, Association for Art History 2024 Annual Conference, University of Bristol, Bristol UK, April 3 - April 5, 2024. Session: New Ways of Knowing in Feminist Art Histories (session chairs Béatrice Cloutier-Trépanier and Laura Ryan)

Abstract: Over the last decades, a body of feminist research (Angkjær Jørgensen & Åsebø 2020-2025, Freeman 2010, Halberstam 2022, Hemmings 2011, Tesfagiorgis 1993) has problematized established stories that chronicle the development of Western feminist movements’ recent past. Drawing from this strain of previous research, this paper is particularly influenced by a number of scholarly works that analyse how conventional but simplified stories about the 1970s tend to produce present-day scholarly frameworks wherein certain kinds of feminist representations become discarded as politically naïve, awkward, or uninteresting (Angkjær Jørgensen & Åsebø 2020-2025, Robinson 2008, Rogoff 1992, Wadstein MacLeod 2012).

This paper stresses the potential of employing formalism (Doyle 2006, Getsy 2015, Pollock 1988, Simmons 2021) as a methodological framework for studying visual representations of the experience of subordination in feminist and queer feminist art produced in the Nordic countries during the 1970s. This methodological framework, this paper argues, proposes both new interpretations of already recognized artworks and suggests the artistic importance of a number of previously largely overlooked artworks and performances from the time. As noticeable in its title, this paper explores the implication that a different methodological framework, focused on showing (describing/watching/comparing) rather than telling (placing visual material into established narratives of the past), will have for the interpretation of feminist and queer feminist artworks produced in the Nordic countries during the 1970s.

This paper gives the context behind the early phase of Robin Evans's writing in the 1970s when he published seminar article "Figures Doors and Passages." It places that essay into the larger situation of Evans's own personal life and concerns about living collectively, as well as the larger concerns among many architects in London in the 1970s about housing and ways of living together, and it raises questions about the historical viability of such dreams of communal living by reflecting why over the subsequent years those dreams have faded for most of the people involved.

Inhoudsopgave Woord vooraf Opsporing en politie Locomotieftekst De politie nu en morgen Reactieteksten Sociale controle tussen nu en straks De burger als vergeten schakel Eten van de boom van kennis 'Men moet de politie kennen' Vervolging, berechting en magistratuur Locomotieftekst Vervolging, berechting en magistratuur: Reactieteksten Twee dwarsdoorsnedes van drie decennia evolutie op het domein van vervolging, berechting en magistratuur Strafrechtsbedeling en hyperstraf Naar een knowledge-en evidence-based strafrechtelijk beleid Een terugblik op 30 jaar vanuit de eigen beroepservaring Deskundigenonderzoek Locomotieftekst Het deskundigenonderzoek in strafzaken Reactieteksten De psychiaters-deskundigen in strafzaken Het deskundigen onderzoek in strafzaken De cruciale rol van deskundigen in het strafproces De positie van de deskundige vandaag De wet deskundige in strafzaken Inhoudsopgave 6 Rechtshulp en advocatuur Locomotieftekst Rechtshulp en advocatuur Reactieteksten Rechtshulp en advocatuur Rechtshulp en advocatuur: een blik van buitenaf Strafuitvoering en justitiële hulpverlening Locomotieftekst 30 jaar strafuitvoering in belgië Reactieteksten Krokodillen in tranendal. Veelzeggende stilte? De wet op de externe rechtspositie van veroordeelden Dertig jaar communautarisering hulp-en dienstverlening aan gedetineerden Recht en geestelijke gezondheidszorg Locomotieftekst Dertig jaar forensische geestelijke gezondheidszorg in Vlaanderen Reactieteksten De toekomst van de forensische geestelijke gezondheidszorg in Vlaanderen Te gek om los te lopen of net niet? De forensische geestelijke gezondheidszorg in Vlaanderen op een keerpunt Maatschappelijke dienstverlening Locomotieftekst Maatschappelijke dienstverlening aan justitiabelen. Reactieteksten Maatschappelijke dienstverlening: beheersingsstrategie of emancipatorisch project? Als een hamer je enige gereedschap is, lijkt elk probleem op een spijker.