scholarly journals Willows in the farming landscape: a forgotten eco-cultural icon

2021 ◽  
Author(s):  
Ian D. Rotherham
Keyword(s):  
Twentieth Century ◽  
Rural Landscape ◽  
Cultural Resource ◽  
Distinctive Features ◽  
Cultural Icon ◽  
Agricultural Communities ◽  
Willow Species ◽  
Veteran Trees ◽  
History Of

AbstractRecent studies have revealed a largely forgotten rural landscape in which Salix (willow) species were a characteristic, iconic, and utilitarian feature. In former wetlands, now largely removed by massive drainage schemes since the 1600s various willow species were distinctive features of the landscape and of major value to agricultural communities that inhabited those places. From lowlands to uplands across the British countryside willows dominated much wetter and more extensive landscapes. Remnant upland willow woods (now present as ‘shadow woods’) exist as isolated remnants in small wet habitats in an often desiccated landscape fragmented and drained. In the lowlands, especially former fenland areas, willows were present in extensive wet (carr) woodlands and in cultivated beds of withies or osier holts, and as coppices and pollards on boundaries and in field edges across the countryside. The economic driver of withy beds survived in the main English fenlands until the mid-twentieth century. Today these once extensive and important landscapes are mostly forgotten and derelict; and furthermore, the eco-cultural resource of the willows is currently under threat with unrecorded veteran trees being actively removed by farmers. This paper introduces the significance of the willow landscapes, the history of the eco-cultural resource, and the implications of neglect for future conservation.

The Making of the "First Dog": President Warren G. Harding and Laddie Boy

2005 ◽  
Vol 13 (2) ◽  
pp. 109-138 ◽  
Author(s):  
Helena Pycior
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
Cultural Factors ◽  
White House ◽  
Cultural Icon ◽  
The Third ◽  
The Press ◽  
American Press ◽  
History Of

AbstractThis paper traces the history of the cultural icon of the "First Dog" of the United States back to the administration of President Warren G. Harding (1921-1923). It briefly explores technological and socio-cultural factors—including the early-twentieth-century cult of human and nonhuman celebrities—that laid a basis for the acceptance of Laddie Boy, Harding's Airedale terrier, as the third member of the First Family and a celebrity in his own right. Following Laddie Boy, First Dogs would greet and entertain visitors to the White House, pose for the press, make public appearances, and "talk." While recognizing that Laddie Boy's personality was essential to his success at the White House, the paper also documents the steps taken by President Harding, his wife Florence Kling Harding, and the American press to establish Laddie Boy as the First Dog of the land. The paper argues that the construction of the cultural icon of the First Dog was not simply a political ploy to humanize the President but more a calculated attempt by President Harding to further animal welfare.

The Rise of “Southern” Gospel Music and the Compensations of History

2017 ◽  
Author(s):  
Douglas Harrison
Keyword(s):  
Twentieth Century ◽  
Gospel Music ◽  
Alternative Account ◽  
Cultural Icon ◽  
American Life ◽  
Synchronous Interaction ◽  
Early Twentieth Century ◽  
History Of

This chapter takes issue with the widely held and uncritically accepted belief in the southern gospel imagination that James D. Vaughan, an early-twentieth-century disciple of Ruebush–Kieffer, is the “founder” of today's southern gospel. In challenging his status, this chapter traces an alternative history of southern gospel in the twentieth century that reinterprets the meaning of Vaughn as a cultural icon. This alternative account emphasizes the music's synchronous interaction with broader shifts in American life beyond the narrow confines of what are often thought to be southern gospel's insular borders, with the most visible evidence of these shifts being the emergence of the term “southern gospel” itself in the last half of the twentieth century.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

Review: Urban Latino Cultures: La Vida Latina en LA by Gustavo Leclerc, Raúl Villa, and Michael J. Dear (eds.)

1999 ◽  
Vol 22 (1) ◽  
pp. 126-128
Author(s):  
Catherine S. Ramirez
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Mexican American ◽  
History Of ◽  
Crime Wave ◽  
Eighteenth And Nineteenth Centuries ◽  
The City ◽  
History Of Los Angeles

Throughout the twentieth century (and now the twenty-first), the specter of a Latina/o past, present, and future has haunted the myth of Los Angeles as a sunny, bucolic paradise. At the same time it has loomed behind narratives of the city as a dystopic, urban nightmare. In the 1940s Carey McWilliams pointed to the fabrication of a “Spanish fantasy heritage” that made Los Angeles the bygone home of fair señoritas, genteel caballeros and benevolent mission padres. Meanwhile, the dominant Angeleno press invented a “zoot” (read Mexican-American) crime wave. Unlike the aristocratic, European Californias/os of lore, the Mexican/American “gangsters” of the 1940s were described as racial mongrels. What's more, the newspapers explicitly identified them as the sons and daughters of immigrants-thus eliding any link they may have had to the Californias/os of the eighteenth and nineteenth centuries or to the history of Los Angeles in general.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

“The History of Scottish Theology, Volume 3: The Long Twentieth Century” edited by David Fergusson and Mark W. Elliott

2020 ◽  
Vol 27 (2) ◽  
pp. 75-77
Author(s):  
Philip D. Foster
Keyword(s):  
Twentieth Century ◽  
History Of

Review of David Fergusson and Mark W. Elliot, eds., The History of Scottish Theology, Volume 3: The Long Twentieth Century (Oxford: OUP, 2019), pp. xii+373, ISBN 978-0198759355. £95.00

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