scholarly journals Introduction: Labour Institutions in a Global Perspective, from the Seventeenth to the Twentieth Century

2009 ◽  
Vol 54 (3) ◽  
pp. 351-358 ◽  
Author(s):  
Alessandro Stanziani
Keyword(s):  
Twentieth Century ◽  
Point Of View ◽  
Social Conditions ◽  
Global Perspective ◽  
The Other ◽  
The West ◽  
Freedom Of Contract ◽  
Starting Point ◽  
Forced Labour ◽  
The One

SummaryComparative analyses of labour often assume a dividing line between free and forced labour which is universally applicable. The contributions to this special theme argue that the tensions between “freedom” and “unfreedom” may be identified more precisely as those between multiple notions and practices of contract, status, and social conditions. Free and unfree labour on the one hand, status and contract on the other, are historically determined categories. This introduction argues that those histories do not run in parallel but are strictly intersected. From that point of view, social and economic inequalities are mutually linked to legal entitlements; a modification in legal entitlements strongly influences the economic and social equilibrium, and vice versa. Underlying this conclusion is a perspective that is resolutely non-Eurocentric and global. We do not endeavour to find the “missing” freedom of contract in the “periphery”, nor do we consider the “cultural” and economic domination of “the West” as a starting point. We stress instead the mutual connection between “peripheries” and “core” categories and practices. Such a bilateral circulation of ideas and practices contrasts with the argument according to which “the West” invented “freedom” and coercion as well.

Combining Forms and Affixoids in Morphology

2020 ◽  
Author(s):  
Dany Amiot ◽  
Edwige Dugas
Keyword(s):  
Major Part ◽  
Word Formation ◽  
Point Of View ◽  
The Other ◽  
Formation Processes ◽  
Good Criterion ◽  
Part Of Speech ◽  
Starting Point ◽  
Wide Range ◽  
The One

Word-formation encompasses a wide range of processes, among which we find derivation and compounding, two processes yielding productive patterns which enable the speaker to understand and to coin new lexemes. This article draws a distinction between two types of constituents (suffixes, combining forms, splinters, affixoids, etc.) on the one hand and word-formation processes (derivation, compounding, blending, etc.) on the other hand but also shows that a given constituent can appear in different word-formation processes. First, it describes prototypical derivation and compounding in terms of word-formation processes and of their constituents: Prototypical derivation involves a base lexeme, that is, a free lexical elements belonging to a major part-of-speech category (noun, verb, or adjective) and, very often, an affix (e.g., Fr. laverV ‘to wash’ > lavableA ‘washable’), while prototypical compounding involves two lexemes (e.g., Eng. rainN + fallV > rainfallN). The description of these prototypical phenomena provides a starting point for the description of other types of constituents and word-formation processes. There are indeed at least two phenomena which do not meet this description, namely, combining forms (henceforth CFs) and affixoids, and which therefore pose an interesting challenge to linguistic description, be it synchronic or diachronic. The distinction between combining forms and affixoids is not easy to establish and the definitions are often confusing, but productivity is a good criterion to distinguish them from each other, even if it does not answer all the questions raised by bound forms. In the literature, the notions of CF and affixoid are not unanimously agreed upon, especially that of affixoid. Yet this article stresses that they enable us to highlight, and even conceptualize, the gradual nature of linguistic phenomena, whether from a synchronic or a diachronic point of view.

Modernism and World Art, 1950–72

ARTMargins ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 55-76
Author(s):  
Nikolas Drosos
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
American Art ◽  
Global Perspective ◽  
The Other ◽  
Soviet Bloc ◽  
Universal History ◽  
History Of Art ◽  
History Of ◽  
The One

Focusing on a series of exhibitions of modern art from the 1950s to the early 1970s, this article traces the frictions between two related, yet separate endeavors during the first postwar decades: on the one hand, the historicizing of modernism as a specifically European story; and on the other, the constitution of an all-encompassing concept of “World Art” that would integrate all periods and cultures into a single narrative. The strategies devised by exhibition organizers, analyzed here, sought to maintain the distance between World Art and modernism, and thus deferred the possibility of a more geographically expansive view of twentieth-century art. Realist art from the Soviet bloc and elsewhere occupied an uneasy position in such articulations between World Art and modernism, and its inclusion in exhibitions of modern art often led to the destabilizing of their narratives. Such approaches are contrasted here with the prominent place given to both realism and non-Euro-American art from the twentieth century in the Soviet Universal History of Art, published from 1956 to 1965. Against the context of current efforts at a “global” perspective on modern art, this article foregrounds the instances when the inner contradictions of late modernism's universalist claims were first exposed.

Rigidities in the Labour Market

1988 ◽  
Vol 23 (4) ◽  
pp. 395-412 ◽  
Author(s):  
Ronald Dore
Keyword(s):  
Twentieth Century ◽  
Trade Unions ◽  
Compulsory Education ◽  
The Other ◽  
British Politics ◽  
Common Theme ◽  
Freedom Of Contract ◽  
The Face ◽  
The Common ◽  
The One

THE STEADY EXPANSION OF THE FUNCTIONS OF GOVERNMENT and its increasingly interventionist role in the economy has for much of the twentieth century seemed an inexorable and irreversible trend. The jurist, Dicey, already saw it as such at the beginning of the century. In a famous series of lectures, he traced the retreat of Benthamite individualist liberalism in the face of what he called ‘collectivism’. The common theme in all the developments he considered — the protection given to trade unions on the one hand, compulsory education and municipal trading on the other — was their limitation of the freedom of contract, the limitation of — the buzz-word of British politics in the late 1980s — ‘choice’.

Towards a semiotic model of mixed music analysis

2006 ◽  
Vol 11 (2) ◽  
pp. 93-100 ◽  
Author(s):  
PHILIPPE LALITTE
Keyword(s):  
Twentieth Century ◽  
Music Analysis ◽  
Point Of View ◽  
The Other ◽  
Real Time Processing ◽  
Time Processing ◽  
Semiotic Model ◽  
The One ◽  
Meaningful Relationships ◽  
Potential Interactions

In this paper I try to outline a model that can bring out the meaningful relationships between ‘the instrumental’ and ‘the electronics’ in mixed music. The model is based on the semiotic square which is considered in semiotics as a powerful conceptual framework to examine the relationships between two terms (S1/S2) and their negative (non-S1/non-S2), terms which can be characters, situations, actions, concepts, etc. Two paradigmatic axes represent the relations between the actors of mixed music: the sources (instrumental and electronic) on the one hand, and the manipulations (real-time processing and sound projection) on the other. According to the semiotic square, the relations inside the environment are defined in terms of contrariety, contradiction and complementarity. This model allows us to start out with a purely technological description of the ‘mixed music’ genre and of individual pieces, with the advantage of a pre-operative analysis of the system. It describes the immanent structure of the environments and releases the potential interactions between the instrumental and the electronics of mixed music. These interactions are examined, from a paradigmatic point of view, with numerous representative pieces of mixed music from the twentieth century.

scholarly journals Colonialism, Cosmopolitanism, and Nationalism: The Performativity of Western Music Endeavours in Interwar Shanghai

2021 ◽  
pp. 1-31
Author(s):  
HON-LUN HELAN YANG
Keyword(s):  
Twentieth Century ◽  
Speech Act ◽  
Music History ◽  
The Other ◽  
Western Music ◽  
The West ◽  
Municipal Council ◽  
Treaty Port ◽  
Asian Cities ◽  
The One

Abstract This article examines the meaning of Western music performances in interwar Shanghai through the theoretical framework of performativity that originated in John Austin's speech act and Judith Butler's notion of identity as performed. The early concerts of the Shanghai Municipal Orchestra (SMO), I suggest, were an assertion of settler sovereignty in a treaty port such as Shanghai. Therefore, Chinese musicians performing Western music – propagated through the establishment of the National Conservatory of Music by Chinese elites in Shanghai's French Settlement in 1927 – was the embodiment of three contradictory ideals: colonialism, nationalism, and cosmopolitanism. Zooming in on four SMO concerts that featured Chinese musicians in 1929, I argue that they were sites of identity and power negotiation, the SMO and the Chinese musicians asserting quite distinct performative utterances. On the one hand, the performing Chinese body enacted the cosmopolitan outlook that the Municipal Council was eager to project, not only for the sake of ideology but also to increase SMO's concert revenue by appealing to the increasing number of Chinese concert attendees. On the other hand, it meant national glory to Chinese residents in Shanghai, marking Chinese musicians participating in a global musical network. Lastly, this study draws attention to the diverse geographies of Western music in the twentieth century and its coeval development beyond the West, testifying to the timely need for a global music history in which the musicking of Western music in so many Asian cities should be interwoven into its narrative.

scholarly journals Ragionamenti intorno a l’Idea del theatro di Giulio Camillo Delminio. Lavori in corso

2020 ◽  
Vol 1 ◽  
pp. 39-55
Author(s):  
Angelo Maria Monaco
Keyword(s):  
Critical Reception ◽  
Annotated Bibliography ◽  
Point Of View ◽  
The Other ◽  
Work In Progress ◽  
The Third ◽  
Other Hand ◽  
Starting Point ◽  
Relevant Role ◽  
The One

Preliminary proof of a work in progress, the essay is given as a reasoned recognition of the critical reception of Giulio Camillo Delminio’s L’idea del theatro (1550). Intended, on the one hand, as a compendium useful to orient Scholars in the magmatic bibliography on L’idea, on the other hand, as a starting point for new study hypotheses about Camillo as an iconographer. Divided into three sections, the essay focuses, first, on the relevant role played by images in the architecture of L’idea. The second part is a sort of annotated bibliography that starts from Frances Yates’ famous essay, published in 1966. In the third part, two new proposals are discussed. The first one deals with the origin and meaning of the name "Delminio", explained from a philological point of view as a latinization aiming at Camillo’s own self-fashioning. The second one highlights the helpfulness of the list of annotated images in a manuscript in the Biblioteca Apostolica Vaticana, recently rediscovered, to clarify the meaning of some cryptic images in L’idea.

scholarly journals YY. Kryptonimy Jerzego Jankowskiego

2020 ◽  
Author(s):  
Marta Baron-Milian
Keyword(s):  
Literary History ◽  
Social Function ◽  
Point Of View ◽  
The Other ◽  
Modern City ◽  
Avant Garde ◽  
Starting Point ◽  
The Social ◽  
Key Word ◽  
The One

The article is an attempt to interpret the only book published by Jerzy Jankowski, a forerunner of Polish futurism who is often overlooked in literary history related to the beginnings of the avant-garde movement. Tram wpopszek ulicy (Tram crossways on the street), published in 1920, is presented in terms of innovative phenomena in Polish and European poetry. Such a point of view reveals its precursory character, despite its passeism repeatedly diagnosed by critics. The key word and the starting point of the analysis is the first word of the title – tram, whose ambiguity makes it not only a sign of a modern city but also a metaphor of the construction of the entire book and its historical location. Further analysis leads to conclusions that, on the one hand, reveal the complicated meaning of the vitalistic futurist concept of life and, on the other, indicate aporias and tensions between symbolism and avant-garde, originality and repetition, materiality and spirituality, as well as aesthetics and the social function of art. These seem to be a hidden dimension of Jankowski’s work.

The Loonkidongi prophets and the Maasai: protection racket or incipient state?

Africa ◽  
1991 ◽  
Vol 61 (3) ◽  
pp. 334-342 ◽  
Author(s):  
Paul Spencer
Keyword(s):  
Twentieth Century ◽  
Point Of View ◽  
The Other ◽  
Eastern Africa ◽  
Post Colonial ◽  
State Apparatus ◽  
Egalitarian Society ◽  
Protection Racket ◽  
The One ◽  
Colonial Government

AbstractThe Maasai are widely assumed to be a highly egalitarian society whose past success in dominating their neighbours owed much to the advice of their Prophets (loibonok, ‘laibons’). This article examines the practice of divination and prophecy in relation to the reputation of and the beliefs surrounding the principal family of, Maasai Prophets, the Loonkidongi. Undermining the egalitarian ideal, which is shared by the Maasai themselves, the Loonkidongi are shown to have been accepted as an elite. Throughout the twentieth century they have continued to dominate the Maasai in initiating and controlling sorcery, giving protection on the one hand and fostering the belief in Maasai vulnerability on the other. Living apart from other Maasai, with more wives and larger herds, with their own dynasty and dynastic feuding, with their penetrating mystical powers and networks of influence, the Loonkidongi have the symbolic trappings of a superior class of rulers. From this point of view the Maasai are not egalitarian, but are the clients of a protection racket that in pre-colonial times amounted to an incipient state. Today the Prophets continue to wield influence and are accorded more power popularly than elsewhere in eastern Africa, where surviving traditional rulers have been subordinated to the imposed state apparatus of colonial and post-colonial government.

Das Ende der Postdemokratie, den Pessimismus überwinden.

2017 ◽  
Vol 47 (188) ◽  
pp. 487-494
Author(s):  
Daniel Mullis
Keyword(s):  
Political Thought ◽  
Social Dynamics ◽  
Social Conditions ◽  
The Other ◽  
Economic Decline ◽  
Far Right ◽  
Windows Of Opportunity ◽  
Political Events ◽  
Political Struggles ◽  
The One

In recent years, political and social conditions have changed dramatically. Many analyses help to capture these dynamics. However, they produce political pessimism: on the one hand there is the image of regression and on the other, a direct link is made between socio-economic decline and the rise of the far-right. To counter these aspects, this article argues that current political events are to be understood less as ‘regression’ but rather as a moment of movement and the return of deep political struggles. Referring to Jacques Ranciere’s political thought, the current conditions can be captured as the ‘end of post-democracy’. This approach changes the perspective on current social dynamics in a productive way. It allows for an emphasis on movement and the recognition of the windows of opportunity for emancipatory struggles.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Sign in / Sign up

Export Citation Format

Share Document