Blues and our mind-body problem

Blues music is relatively well recognised as a cultural phenomenon. In tracing its history, both as a reflection of one people's particular circumstances of oppression and as an ingredient taken into mainstream popular art, we accumulate reasons for thinking of it as important. But these are external reasons. It is possible to know that one's everyday milieu is heavily indebted to blues (in manners as well as in music), even to feel blues quality strongly, and yet not be able to articulate an understanding of the import of blues. In that case one is kept from thinking well about how the meaning of blues in, say, the life of an early twentieth-century black Mississippian relates to the meaning of blues in other sorts of life, including yours and mine today – which is precisely the inside of the cultural phenomenon of blues. To get over this hump we need to pay a kind of attention that blues rarely receives.

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The Mind-Body Problem in the Early Twentieth Century

Perspectives in Biology and Medicine ◽

10.1353/pbm.1977.0071 ◽

1977 ◽

Vol 20 (2) ◽

pp. 271-284 ◽

Cited By ~ 2

Author(s):

John C. Burnham

Keyword(s):

Twentieth Century ◽

Body Problem ◽

Early Twentieth Century ◽

Mind Body Problem ◽

The Mind

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"The Blues Ain't Nothin' But a Woman Want to be a Man": Male Control in Early Twentieth Century Blues Music

Canadian Review of American Studies ◽

10.3138/cras-024-01-02 ◽

1994 ◽

Vol 24 (1) ◽

pp. 19-40

Author(s):

Matthew B. White

Keyword(s):

Twentieth Century ◽

Male Control ◽

Early Twentieth Century ◽

Blues Music

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V.M. SHUKSHIN AND “NEW PEASANT POETS”: SURVIVED CHILDREN OF NOT SURVIVED FATHERS

Siberian philological forum ◽

10.25146/2587-7844-2020-10-2-38 ◽

2020 ◽

Vol 10 (2) ◽

pp. 4-15

Author(s):

A.A. Shorokhov ◽

Keyword(s):

Twentieth Century ◽

World Literature ◽

Cultural Phenomenon ◽

Early Twentieth Century ◽

History Of ◽

Late Twentieth ◽

Points Of View ◽

Definition Of ◽

Late Twentieth Century

The article combines two significant historical and literary phenomena. The first is a group of Russian poets and prose writers of the early twentieth century, known under the general name “new peasant poets”. The second is a group of Russian writers of the late twentieth century, whose work has received a steady definition of “village prose”. V.M. Shukshin’s works are also referred to this cultural phenomenon. The article attempts to get away from simplifying definitions of “urban romance”, “village prose”, and to establish the civilizational continuity of Shukshin’s work with “new peasant poets” of the early twentieth century. The author also tries to consider the phenomenon of the group of “new peasant poets” from the cultural, philosophical and historical-biographical points of view – In the unity of their work, fate and dramatic changes in the history of Russia. The article uses theoretical works on Russian and world literature and history by M.M. Bakhtin, V.V. Kozhinova, I.R. Shafarevich, G.I. Shmeleva, P.F. Alyoshkina, S.Yu. and S.S. Kunyaevs, recent publications on Shukshin’s works by V.I. Belov, A.D. Zabolotsky, and A.N. Varlamov.

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The Chinese Renaissance: A Transcultural Reading

PMLA ◽

10.1632/003081205x63859a ◽

2005 ◽

Vol 120 (3) ◽

pp. 783-795 ◽

Cited By ~ 2

Author(s):

Gang Zhou

Keyword(s):

Twentieth Century ◽

European Countries ◽

Modern China ◽

Italian Renaissance ◽

Hu Shi ◽

Cultural Phenomenon ◽

Early Twentieth Century ◽

Chinese Intellectuals ◽

European Renaissance

This paper examines the ways in which the idea of renaissance was understood and appropriated by Chinese intellectuals in the early twentieth century. My discussion foregrounds Hu Shi, one of the most important intellectual leaders in modern China and the main architect of the Chinese vernacular movement. I analyze his rewriting and reinvention of the European Renaissance as well as his declaration and presentation of the Chinese Renaissance in various contexts. Hu's creative uses of the Italian Renaissance and passionate claims for a Chinese Renaissance reveal the performative magic of the word renaissance and prompt us to ask what a renaissance is. The Chinese Renaissance and the fact that various non-European countries have declared and promoted their own renaissances invite a scholarly reconsideration of “renaissance” as a trans-cultural phenomenon rather than as a critical category originated and therefore owned by a certain culture.

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COMMERCIALIZING THE SACRED OFFICE: SEXUAL REVOLUTION AND THE SCANDAL OF THE MODERN MARRYING PARSON, 1895–1930

The Journal of the Gilded Age and Progressive Era ◽

10.1017/s153778141700055x ◽

2018 ◽

Vol 17 (1) ◽

pp. 56-76 ◽

Cited By ~ 1

Author(s):

Paul Emory Putz

Keyword(s):

Twentieth Century ◽

Progressive Era ◽

Sexual Revolution ◽

Popular Discourse ◽

Sexual Autonomy ◽

Daily Newspapers ◽

On Demand ◽

Commercial Use ◽

Cultural Phenomenon ◽

Early Twentieth Century

Between the 1890s and the 1930s, the “marrying parson”—a minister willing to perform on-demand marriages—became a well-known American cultural figure, caricatured and depicted in daily newspapers and popular magazines. To date, however, no scholar has analyzed this cultural phenomenon. This article explains and analyzes the rise of the marrying parson to cultural prominence in the early twentieth century. It discusses, first, the legal and cultural environment that gave marrying parsons a legal product—a state-sanctioned marriage—that they could sell; and second, the Progressive Era fears over changes in sexual behavior that made marrying parsons both prominent and controversial in popular discourse. Because marrying parsons were marked as religious figures, white Protestant leaders and reformers viewed them as traitors from within, traitors who commercialized the legal privileges of their sacred office as they undermined Protestants' attempts to combat divorce, protect the sexual innocence of young women, and limit youthful sexual autonomy. Although marrying parsons are no longer prominent in popular discourse, religiously ordained individuals continue the quick-marriage activities of early twentieth-century “marrying parsons,” thus revealing the limits of attempts by Protestant leaders to police the commercial use of religious privilege.

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Some Polish Composers of To-Day

Tempo ◽

10.1017/s0040298200053596 ◽

1948 ◽

pp. 25-28

Author(s):

Andrzej Panufnik

Keyword(s):

Twentieth Century ◽

Fertile Soil ◽

Early Twentieth Century ◽

Progressive Group ◽

Karol Szymanowski

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.

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