Oklahoma!: ideology and politics in the vernacular tradition of the American musical

Popular Music ◽  
1999 ◽  
Vol 18 (3) ◽  
pp. 381-395 ◽  
Author(s):  
Paul Filmer ◽  
Val Rimmer ◽  
Dave Walsh

Musicals, like all popular texts and forms of art have an explicitly reflexive relationship with the societies from which they stem. As well as reflecting the historical and cultural character of society they voice society's own sense of its life and values. They are properly analysed, therefore, in terms of what Geertz (1975) has termed the ‘thick description’ of culture, whereby their organisation, construction and meaning is treated in terms of how they are lodged in, and lodge within themselves, the cultural and social structures of the society of which they are a social expression and with which they are reflexively engaged.

2010 ◽  
Vol 39 (1) ◽  
pp. 12-17
Author(s):  
Rebekka King

My ethnographic project constitutes two years of participant observation at five churches that have self-identified as progressives and which regularly study popular texts that challenge traditional theological assertions. The research in which I am engaged most closely locates itself within the division of the anthropology of Christianity that focuses upon the language or ideology through which the Christian subject is constructed, maintained, and legitimized (Stromberg 1993; Harding 2000; Keane 2007). More specifically I look at study and discussion groups featuring popular theological texts and seek to delineate the identity constructed through the interplay between the texts and their readers in a group setting.


2017 ◽  
Vol 1 (2) ◽  
pp. 206-223
Author(s):  
Jennifer Peace

This paper discusses a worship service I designed and led in November of 2014 at Andover Newton Theological School (ANTS). As a member of the faculty, a practicing Christian and a religious educator and interfaith organizer, I am invited to lead a service each year in the Chapel at ANTS. In particular, as the ANTS’ co-director of the Center for Interreligious and Communal Leadership Education (CIRCLE), a joint program between ANTS and Hebrew College, I was charged with making the service an “interfaith” gathering, open and inviting for Unitarian Universalist, Muslim, and Jewish guests, while still providing an authentic expression of Christian worship. This article offers a first-person narrative and thick description of the service, the planning process, the broader context of interreligious education at our schools, and reflections on both the possibilities and limits of sharing particular religious rituals across diverse religious traditions for educational purposes. Drawing on the work of interreligious educators I identify a set of goals for interreligious education and explore the potential for religious ritual to both contribute to and complicate these goals. I describe the worship service as a ritual event in the life of a Christian seminary as well as its meaning and role in the process of interreligious coformation that is part of CIRCLE’s work.


Author(s):  
E. A. Ponuzhdaev ◽  
Tatiana A. Shpilkina

The authors considered historical and topical issues of the international division of labor (MRT). The analysis and parallel of MRI data by ancient scientists, researchers, scientists and experts of the XVIII, XIX, and XXI centuries. On the example of the European Union countries Greece, Spain and Portugal, the analysis of GDP, wages and unemployment as key indicators that characterize the economy of countries is carried out. The historical «cycle» of social structures is given and the dynamics of the ratio of the upper (B), middle (C) and lower (H) classes is shown. It shows the current problems of world markets, taking into account sanctions, trade wars and the consequences of the pandemic. Prospects for the national division of labor (NDT) are defined.


Disputatio ◽  
2018 ◽  
Vol 10 (50) ◽  
pp. 201-216
Author(s):  
E. Díaz-León

Abstract The metaphysics of gender and race is a growing area of concern in contemporary analytic metaphysics, with many different views about the nature of gender and race being submitted and discussed. But what are these debates about? What questions are these accounts trying to answer? And is there real disagreement between advocates of differ- ent views about race or gender? If so, what are they really disagreeing about? In this paper I want to develop a view about what the debates in the metaphysics of gender and race are about, namely, a version of metaphysical deflationism, according to which these debates are about how we actually use or should use the terms ‘gender’ and ‘race’ (and other related terms), where moral and political considerations play a central role. I will also argue that my version of the view can overcome some recent and powerful objections to metaphysical deflationism of- fered by Elizabeth Barnes (2014, 2017).


2020 ◽  
Author(s):  
William Abbiss

This article offers a ‘post-heritage’ reading of both iterations of Upstairs Downstairs: the LondonWeekend Television (LWT) series (1971–5) and its shortlived BBC revival (2010–12). Identifying elements of subversion and subjectivity allows scholarship on the LWT series to be reassessed, recognising occasions where it challenges rather than supports the social structures of the depicted Edwardian past. The BBC series also incorporates the post-heritage element of self-consciousness, acknowledging the parallel between its narrative and the production’s attempts to recreate the success of its 1970s predecessor. The article’s first section assesses the critical history of the LWT series, identifying areas that are open to further study or revised readings. The second section analyses the serialised war narrative of the fourth series of LWT’s Upstairs, Downstairs (1974), revealing its exploration of female identity across multiple episodes and challenging the notion that the series became more male and upstairs dominated as it progressed. The third section considers the BBC series’ revised concept, identifying the shifts in its main characters’ positions in society that allow the series’ narrative to question the past it evokes. This will be briefly contrasted with the heritage stability of Downton Abbey (ITV, 2010–15). The final section considers the household of 165 Eaton Place’s function as a studio space, which the BBC series self-consciously adopts in order to evoke the aesthetics of prior period dramas. The article concludes by suggesting that the barriers to recreating the past established in the BBC series’ narrative also contributed to its failure to match the success of its earlier iteration.


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