Somalia in 1975: Some Notes and Impressions

1975 ◽  
Vol 5 (1) ◽  
pp. 19-26
Author(s):  
Basil Davidson
Keyword(s):  
Twentieth Century ◽  
Political Ideas ◽  
History Of ◽  
Western Scholarship

Early this year I spent some time in Somalia with the purpose of looking for material that could contribute to a history of political ideas in twentieth century Africa; and, as it fortunately happened, I found much more than I had expected. If I was surprised at this it may have been partly because Somalia, at least in recent years, appears to have become somewhat neglected by Western scholarship. Some preliminary notes and impressions may therefore be of interest.

scholarly journals “They Remembered That They Had Seen It in a Jewish Midrash”: How a Samaritan Tale Became a Legend of the Jews

Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 635
Author(s):  
Steven Fine
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Jewish Studies ◽  
Jewish Literature ◽  
Modern Times ◽  
Early Twentieth Century ◽  
History Of ◽  
Western Scholarship ◽  
Belles Lettres ◽  
Rare Instance

This article relates the transmission history of a single Samaritan text and its fascinating trajectory from a Samaritan legend into early modern rabbinic tradition, and on to nineteenth and early twentieth century Jewish studies circles. It focuses on the only Samaritan narrative cited in all of Louis Ginzberg’s monumental Legends of the Jews (1909–1938). Often called the “Epistle of Joshua son of Nun,” I trace the trajectory of this story from a medieval Samaritan chronicle to Samuel Sulam’s 1566 publication of Abraham Zacuto’s Sefer Yuḥasin. From there, we move to early modern belles lettres in Hebrew and Yiddish, western scholarship and then to the great Jewish anthologizers of the fin de siècle, Micha Yosef Berdyczewski, Judah David Eisenstein and Louis Ginzberg. I will suggest reasons why this tale was so appealing to Sulam, a Sephardi scholar based in Istanbul, that he appended it to Sefer Yuḥasin, and what about this tale of heroism ingratiated it to early modern European and then early Zionist readers. The afterlife of this tale is a rare instance of Samaritan influence upon classical Jewish literature, undermining assumptions of unidirectional Jewish influence upon the minority Samaritan culture from antiquity to modern times.

scholarly journals Presidential Address. Confronting Our Colonial Past: Reassessing Political Alliances over Canada’s Twentieth Century

2018 ◽  
Vol 28 (1) ◽  
pp. 1-43 ◽  
Author(s):  
Joan Sangster
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Indigenous Peoples ◽  
Presidential Address ◽  
Historical Context ◽  
World War ◽  
Indigenous Cultures ◽  
Political Ideas ◽  
Political Alliances ◽  
History Of

This article examines examples of settler-initiated political alliances with Indigenous peoples in Canada over the twentieth century, placing them in their social and historical context, and assessing their insights as well as ideological and material limitations. I explore four very different examples, ranging from protests over the dispossession of land to attempts to preserve Indigenous cultures to the post-World War II organization of the Indian Eskimo Association and youth Indigenous projects associated with the Company of Young Canadians. Past settler efforts to create alliances or speak on behalf of Indigenous peoples incorporated multiple intentions and political ideas; they included both efforts at advocacy and partnership and paternal replications of colonial thinking. Assessing their complex histories is an important part of our efforts to grapple critically with Canada’s history of colonialism.

Katherine Mansfield and Translation

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Central Place ◽  
Literary Texts ◽  
Katherine Mansfield ◽  
Literary Language ◽  
Specific Interest ◽  
Literary Traditions ◽  
Political Ideas ◽  
Key Features ◽  
Critical Interest

Our understanding of Anglophone modernism has been transformed by recent critical interest in translation. The central place of translation in the circulation of aesthetic and political ideas in the early twentieth century has been underlined, for example, as well as translation’s place in the creative and poetic dynamics of key modernist texts. This volume of Katherine Mansfield Studies offers a timely assessment of Mansfield’s place in such exchanges. As a reviewer, she developed a specific interest in literatures in translation, as well as showing a keen awareness of the translator’s presence in the text. Throughout her life, Mansfield engaged with new literary texts through translation, either translating proficiently herself, or working alongside a co-translator to explore the semantic and stylistic challenges of partially known languages. The metaphorical resonances of translating, transition and marginality also remain key features of her writing throughout her life. Meanwhile, her enduring popularity abroad is ensured by translations of her works, all of which reveal sociological and even ideological agendas of their own, an inevitable reflection of individual translators’ readings of her works, and the literary traditions of the new country and language of reception. The contributions to this volume refine and extend our appreciation of her specifically trans-linguistic and trans-literary lives. They illuminate the specific and more general influences of translation on Mansfield’s evolving technique and, jointly, they reveal the importance of translation on her literary language, as well as for her own particular brand of modernism.

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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