Gol Gumbad, Bijapur

Author(s):  
Nayanjot Lahiri

This report on the Gol Gumbad provides a detailed explanation for this decay, as also an excellent summary of the repairs carried out since the early part of the twentieth century, even the views of various engineers and archaeologists who had examined it. The deterioration of the inner dome, it seems, was a consequence of rainwater annually finding its way into the masonry core, which was partially addressed by the guniting of the outer cover.

Author(s):  
Marian H. Feldman

The “Orientalizing period” represents a scholarly designation used to describe the eighth and seventh centuries bce when regions in Greece, Italy, and farther west witnessed a flourishing of arts and cultures attributed to contact with cultural areas to the east—in particular that of the Phoenicians. This chapter surveys Orientalizing as an intellectual and historiographic concept and reconsiders the role of purportedly Phoenician arts within the existing scholarly narratives. The Orientalizing period should be understood as a construct of nineteenth- and twentieth-century scholarship that was structured around a false dichotomy between the Orient (the East) and the West. The designation “Phoenician” has a similarly complex historiographic past rooted in ancient Greek stereotyping that has profoundly shaped modern scholarly interpretations. This chapter argues that the luxury arts most often credited as agents of Orientalization—most prominent among them being carved ivories, decorated metal bowls, and engraved tridacna shells—cannot be exclusively associated with a Phoenician cultural origin, thus calling into question the primacy of the Phoenicians in Orientalizing processes. Each of these types of objects appears to have a much broader production sphere than is indicated by the attribute as Phoenician. In addition, the notion of unidirectional influences flowing from east to west is challenged, and instead concepts of connectivity and networking are proposed as more useful frameworks for approaching the problem of cultural relations during the early part of the first millennium bce.


Author(s):  
Ruth W. Grant

This chapter presents a historical account of the use of the term “incentives” and of the introduction of incentives in scientific management and behavioral psychology. “Incentives” came into the language in the early part of the twentieth century in America. During this period, the language of social control and of social engineering was quite prevalent, and incentives were understood to be one tool in the social engineers' toolbox—an instrument of power. Not coincidentally, incentives were also extremely controversial at this time and were criticized from several quarters as dehumanizing, manipulative, heartless, and exploitative. When incentives are viewed as instruments of power, the controversial ethical aspects of their use come readily to the fore.


Author(s):  
Sally Eden

Geographical approaches to human-environment relations have been diverse and dynamic over the last century. They have also been heavily influenced not only by academic disciplines outside geography but by popular and policy concerns outside academia. From an initial flurry of activity about how the environment influences society in the early part of the century, British geography then took a detour to other topics even as other disciplines discovered the environment as a topic of interest. This left geographers playing ‘catch-up’ in the late twentieth century, as the discipline sought to reoccupy the ground previously abandoned. This is not over yet: in the 1990s, research into ‘the environment’ and ‘nature’ was scattered across academia. This chapter examines the relationship between humans and the contemporary environment, focusing on environmental protection, environmental management and ecological science, environmental policy and management, environmentalism, and environment and history.


Author(s):  
Albert Weale

Social contract theory arose as a response to the twilight of utilitarianism. For many years utilitarianism had been seen as a political philosophy of human emancipation. Like social contract theory, utilitarianism was a critical and rationalistic morality. However, it was judged incapable of recognizing the separateness of persons, the claim by each person to be treated with justice. Utilitarianism defined the good in terms of pleasure, conceived in a naturalistic way. It regarded pleasure as the guide to choice. It promised to provide an intellectual framework within which everyday intuitive morality could be rendered consistent. And it sought to ground action in practical reasoning about the promotion of the good. However, these distinctive elements came under challenge. With the rise of modern utility theory, pleasure was no longer thought of as the guide to choice. Pleasure was no longer conceived as the sole good. Doubts were raised about the extent to which the principle of utility could explicate the principle of justice. And even utilitarianism had to concede the dualism of practical reason. One response was the rise of intuitionism in the early part of the twentieth century. Another response was the rise of social contract theory, as discussed in this book.


Author(s):  
Nancy Reynolds

George Balanchine (Georgii Melitonovich Balanchivadze), arguably the greatest ballet choreographer of the twentieth century, was at once both modernist and traditionalist. Unlike many radical innovators, in charting new ground he did not reject the past. Virtually all of his major works make reference, even if obliquely, to the classical ballet technique in which he was trained. Although born in Russia and active in Europe in the early part of his career, it was in America that he made his greatest impact, directing the New York City Ballet, which he co-founded with Lincoln Kirstein, from its inception in 1948 until his death in 1983. During this time, the company grew from modest beginnings to become one of the most important ballet troupes in the world. Balanchine is credited with creating a particularly American style of classical dance, one that is characterized by speed, precision, energy, daring, and a rough grace more associated with athletes than with sylphs. His more than 400 dance works include Apollo (1928), Serenade (1934), Concerto Barocco (1941), Le Palais de cristal (later renamed Symphony in C) (1948), Orpheus (1948), The Nutcracker (1954), Agon (1957), Symphony in Three Movements (1972), Stravinsky Violin Concerto (1972), Vienna Waltzes (1977), Ballo della Regina (1978), and Mozartiana (1981).


2019 ◽  
Vol 134 (1) ◽  
pp. 8-13
Author(s):  
K J Kane

AbstractBackgroundThe concept of endoscopic diagnosis and procedures on the nasal cavity had been investigated for several decades in Europe in the early part of the twentieth century. It was Prof Walter Messerklinger and his assistant, Heinz Stammberger, with US colleague, David Kennedy, who brought the science and technique of functional endoscopic sinus surgery to the wider world.MethodsThe author, an English-speaking surgeon, was present at this movement from the commencement of its propagation, and has recorded the remarkable ascendency of this technique throughout the world.ConclusionThe technique revolutionised the diagnosis and management of intranasal, sinus and intracranial conditions.


2013 ◽  
Vol 138 (1) ◽  
pp. 85-128 ◽  
Author(s):  
Sarah Collins

AbstractThe spectre of music as a transcendent artistic ideal figures prominently in the literary criticism of Victorian aestheticism, though the extent to which aestheticism of the movement actually influenced the thinking of British composers has received only marginal scholarly attention. By the first decades of the twentieth century, aestheticism had become decidedly unfashionable even in literary circles, so it is unsurprising that composers of the time would choose to distance themselves from its rhetoric. The prevalence of a certain type of metaphysical conception of the creative act of the artist and intuitive act of the critic, however, may suggest an important remnant of aesthetic influence. Drawing from new critical trends which themselves mirror those of aestheticism, this article posits a revised conception of aesthetic discourse as an activity of self-cultivation, and examines its role in shaping the lives of selected British composer-critics from the early part of the twentieth century. By casting the aesthetic ethos not as a doctrine but as a set of internal practices that inform the creation and subversion of doctrine, the article demonstrates how a ‘relational musicology’ can act as a tool for historical inquiry.


The chapters in this book give an account of how the agenda for theology and religious studies was set and reset throughout the twentieth century – by rapid and at times cataclysmic changes (wars, followed by social and academic upheavals in the 1960s), by new movements of thought, by a bounty of archaeological discoveries, and by unprecedented archival research. Further new trends of study and fresh approaches (existentialist, Marxian, postmodern) have in more recent years generated new quests and horizons for reflection and research. Theological enquiry in Great Britain was transformed in the late nineteenth century through the gradual acceptance of the methods and results of historical criticism. New agendas emerged in the various sub-disciplines of theology and religious studies. Some of the issues raised by biblical criticism, for example Christology and the ‘quest of the historical Jesus’, were to remain topics of controversy throughout the twentieth century. In other important and far-reaching ways, however, the agendas that seemed clear in the early part of the century were abandoned, or transformed and replaced, not only as a result of new discoveries and movements of thought, but also by the unfolding events of a century that brought the appalling carnage and horror of two world wars. Their aftermath brought a shattering of inherited world views, including religious world views, and disillusion with the optimistic trust in inevitable progress that had seemed assured in many quarters and found expression in widely influential ‘liberal’ theological thought of the time. The centenary of the British Academy in 2002 has provided a most welcome opportunity for reconsidering the contribution of British scholarship to theological and religious studies in the last hundred years.


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