‘“All found” they used to call it’: genteel boarding houses in early twentieth-century Melbourne

Urban History ◽  
2002 ◽  
Vol 29 (2) ◽  
pp. 239-253 ◽  
Author(s):  
Seamus O'Hanlon
Keyword(s):  
Twentieth Century ◽  
Home Ownership ◽  
Daily Life ◽  
Limited Range ◽  
Upper Class ◽  
Nuclear Families ◽  
City Life ◽  
Early Twentieth Century ◽  
Australian City

This paper investigates genteel, or middle- and upper-class boarding houses in Melbourne in the first decades of the twentieth century. It argues that urban historians have neglected boarding as a facet of Australian city life, preferring instead to use a limited range of statistical sources to focus on the importance of nuclear families, suburbia and home ownership as defining features of the Australian city. Utilizing archival, literary and oral sources, this paper re-creates daily life in a variety of these genteel boarding houses and calls for a more ethnological approach to uncovering the urban past.

The “Sticky Sediment” of Daily Life: Radical Domesticity, Revolutionary Christianity, and the Problem of Wealth in Britain from the 1880s to the 1930s

2012 ◽  
Vol 120 (1) ◽  
pp. 39-82 ◽  
Author(s):  
Seth Koven
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Moral Responsibility ◽  
Everyday Life ◽  
Social Economic ◽  
Daily Life ◽  
World War ◽  
Political Justice ◽  
Ethical Imperative ◽  
Early Twentieth Century

This essay examines an early twentieth-century Christian revolutionary habitus—a “technique of Christian living”—based on the conviction that everyday life was an essential site for reconciling the claims of individual and community, the material and the spiritual. The pacifist-feminist members of London’s first “people’s house,” Kingsley Hall, linked their vision of Jesus’s inclusive and unbounded love for humanity to their belief in the ethical imperative that all people take full moral responsibility for cleaning up their own dirt as part of their utopian program to bring social, economic, and political justice to the outcast in London, Britain, and its empire. In imagining what a reconstructed post-World War I Britain might become, Kingsley Hall’s cross-class band of workers used mundane practices to unmake and remake the late-Victorian and Edwardian philanthropic legacy they inherited.

“A Season in Hell”

2017 ◽  
Vol 86 (4) ◽  
pp. 632-660 ◽  
Author(s):  
Anne Rees
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Daily Life ◽  
Modern Life ◽  
Early Twentieth Century ◽  
The World ◽  
Women Travelers ◽  
The City ◽  
Travel Accounts

Australian women travelers in early twentieth-century New York often recoiled from the frenetic pace of the city, which surpassed anything encountered in either Britain or Australia. This article employs their travel accounts to lend support to the growing recognition that modernity took different forms throughout the world and to contribute to the project of mapping those differences. I argue that “hustle” was a defining feature of the New York modern, comparatively little evident in Australia, and I propose that the southern continent had developed a model of modern life that privileged pleasure-seeking above productivity. At a deeper level, this line of thinking suggests that modernization should not be conflated with the relentless acceleration of daily life; it thus complicates the ingrained assumption that speed and modernity go hand-in-hand.

Synthesis of the Current Knowledge Concerning the Construction of French Traditional Cob Building for Giving Recommendations

2022 ◽  
Author(s):  
Stéphanie Bonnet ◽  
Darwish Alzeort ◽  
Philippe Poullain
Keyword(s):  
Twentieth Century ◽  
Current Knowledge ◽  
Daily Life ◽  
Linear Shrinkage ◽  
Dune Sand ◽  
Du Bois ◽  
The Earth ◽  
Early Twentieth Century ◽  
Scientific Approach ◽  
The Town

The museum of the “Bourrine du bois Juquaud” is a tourist site located in the town of Saint Hilaire de Riez in France. It presents the daily life of the inhabitants of the marsh in the early twentieth century and their traditional earthen houses called Bourrine. The Bourrine is a cob construction with reed roof. The earth used for walls is soil from marshlands added with dune sand and straw fibres but some part are without fibres like coating applied on walls. By now, the knowledge acquired on the implementation of these mixtures for the lifting of the walls are oral knowledge and it is necessary to ensure the preservation of this traditional heritage. Currently the done reparations present cracks due to shrinkage. This study aims at well defining the mixtures by a scientific approach. The earth and dune sand were analyzed by taking cores from different existing bourrines and also by extracting soil on site. Different mixtures were produced by varying the proportion of earth sand and water. The linear shrinkage were measured. Corrections were done to get the best mixture for manufacturing and repairing the Bourrines.

Aspiration to the Extraordinary

2016 ◽  
Author(s):  
Celia Marshik
Keyword(s):  
Twentieth Century ◽  
Upper Class ◽  
Highly Educated ◽  
Early Twentieth Century ◽  
Dorothy Sayers

Examines fancy dress, which was wildly popular wear for costume parties in the early twentieth century. In a range of popular publications, authors suggest that such costumes cannot change or transform the characters that wear it. In contrast, Woolf and Dorothy Sayers write fiction in which costumes can utterly change those who wear them but limit such powers to upper-class, highly educated characters

‘Concentration’ and Awareness in Psychophysical Training: the Practice of Elsa Gindler

2006 ◽  
Vol 22 (4) ◽  
pp. 387-400 ◽  
Author(s):  
Rebecca Loukes
Keyword(s):  
Twentieth Century ◽  
Performance Practice ◽  
Daily Life ◽  
Body Awareness ◽  
Actor Training ◽  
Performance Training ◽  
Research Journal ◽  
Early Twentieth Century ◽  
The University ◽  
Performer Training

In this article Rebecca Loukes explores the practice of German psychophysical awareness practitioner Elsa Gindler (1885–1961), whose work influenced twentieth-century performance in a range of ways, but has not previously been documented in this context. Loukes situates Gindler's training and early work amongst key early twentieth-century Gymnastik practitioners before tracing developments in her life and work, drawing from Gindler's 1926 article, her unpublished class notes, and her students' memories. She discusses what Gindler meant by cultivating a state of ‘concentration’, and how this related to breathing, tension, and relaxation, both in the studio and daily life. She then indicates how this can usefully be applied to contemporary pre-performance training or work on the ‘beginning state of the actor’. Rebecca Loukes is a practitioner, performer, and researcher in the area of actor training and psychophysical awareness. She has been training in practices derived from Gindler's work for over ten years. Her recent writing includes ‘Body Awareness in Performer Training: the Hidden Legacy of Gertrud Falke-Heller (1891–1984)’ for Dance Research Journal (in press). She is Lecturer in Performance Practice at the University of Exeter.

scholarly journals Reading social change on a potter's wheel: Chalcis (Euboea) from the Byzantine to the Modern Greek era

2021 ◽  
pp. 1-23
Author(s):  
Nikos D. Kontogiannis ◽  
Stefania S. Skartsis
Keyword(s):  
Twentieth Century ◽  
Social Change ◽  
Cultural Identity ◽  
Material Culture ◽  
Daily Life ◽  
Local Communities ◽  
Pottery Production ◽  
Modern Greek ◽  
Early Twentieth Century ◽  
Production And Consumption

In this article, the socio-economic and cultural identity of Chalcis is traced through, and combined with, the story of its material culture and, in particular, of its impressive pottery production and consumption. Through this lens, the historical conditions and daily life over more than ten centuries (from the ninth to the early twentieth century) of this relatively unknown provincial town are closely examined. This makes it possible to detect one field in which local communities reacted to, adjusted to, took advantage of, survived or sometimes succumbed to the wider turmoil of the Byzantine, Ottoman and Modern Greek eras.

Sapphic Performances

2019 ◽  
pp. 1-40
Author(s):  
Artemis Leontis
Keyword(s):  
Twentieth Century ◽  
American Woman ◽  
Upper Class ◽  
Home Study ◽  
White American ◽  
Early Twentieth Century

This chapter tracks Eva Palmer Sikelianos's involvement with Sappho's poetry. To study how her reading of Sappho “implicated” or involved her in Sappho's poetic corpus on both a physical and literary level, it pays attention to Eva's hair, dress, and gestures; the photographs for which she posed; the letters she wrote; and the ways in which these different media delivered the pain and pleasure of Sappho's effects. For instance, signs of Eva's involvement with Sappho's poetry are subtly coded in an early twentieth-century photograph. It features Eva seated in a leather chair holding a book upright on her lap, and a wall of books appears in the background to her left. While the picture represents an upper-class white American woman reading in a Victorian home study, the Greek prototype is suggested by the hair.

Corporealizing Colonial Modernities

Dancing Women ◽  
2020 ◽  
pp. 91-138
Author(s):  
Usha Iyer
Keyword(s):  
Twentieth Century ◽  
Cultural Practices ◽  
Upper Class ◽  
Global History ◽  
Rabindranath Tagore ◽  
Classical Dance ◽  
New Class ◽  
Early Twentieth Century ◽  
History Of

Chapter 3 focuses on Azurie and Sadhona Bose, once-famous, now-forgotten dancing stars of the 1930s–1940s, to excavate an intersecting, global history of early twentieth-century discourses on dance, featuring figures like Ruth St. Denis, Anna Pavlova, Rabindranath Tagore, Uday Shankar, and Rukmini Devi Arundale, among many others. Situating Bose, the Bengali bhadramahila, and Azurie, an Indo-German “dancing girl,” as co-choreographers of new mobilities throws light on cosmopolitan, transnational dance networks that intersected with nationalist projects of modernity. This chapter relates these dancer-actresses to the so-called revival of classical dance forms, which involved an appropriation of the cultural practices of traditional performers like devadasis and tawaifs by upper-caste, upper-class performers. By reading Bose and Azurie’s performing bodies and careers alongside each other, this chapter dislodges unitary accounts of the impulses and controversies around dance on film by a new class of urban performers.

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