Before, During, and After the Ban

2020 ◽  
pp. 215-246
Author(s):  
Steven Heine
Keyword(s):  
Twentieth Century ◽  
Final Section ◽  
Philosophy Of Religion ◽  
Edo Period ◽  
History Of ◽  
Scholastic Tradition

The final section of the book is a bibliographical essay that helps situate the significance of the Verse Comments in relation to numerous examples of other kinds of interpretative works produced during the lengthy but rather up-and-down history of commentaries on Dōgen’s Treasury. The scholastic tradition began in the early 1300s with the composition of the Prose Comments by Senne and Kyōgō in addition to Giun’s Verse Comments. In distinct ways, both of these commentaries represent a proselytizing (teishō) or homiletic outlook for understanding the significance of the Sōtō founder’s philosophy of religion. This epilogue also examines the history of commentaries on the Treasury composed in the Edo period as well as diverse scholarly trends since the twentieth century.

Democracy

2018 ◽  
Author(s):  
James Thompson
Keyword(s):  
Twentieth Century ◽  
Cultural History ◽  
Final Section ◽  
Political History ◽  
The State ◽  
Making Sense ◽  
Democratic Practices ◽  
History Of

This chapter seeks to bring out the interrelated quality of twentieth century discussions of democracy, drawing especially on debates in the 1930s and 1970s. It locates these within the longer history of the British conversation about democracy, a conversation that was both influenced by discussions elsewhere and informed by comparisons with, and imaginings of, other polities. It starts with an examination of the history of debating democracy in Britain and then turns to the British way of doing democracy. It argues that the former is essential to making sense of the latter. It moves on to consider how the British have done democracy, drawing upon an emerging cultural history of democratic practices. The final section offers thoughts on the prospects for the historiography of democracy in Britain, and on what its development so far says about the state of modern British political history.

Introduction

2018 ◽  
pp. 1-40
Author(s):  
Uma Maheswari Bhrugubanda
Keyword(s):  
Twentieth Century ◽  
Final Section ◽  
Detailed Account ◽  
Ethnographic Methods ◽  
Cultural Contexts ◽  
Indian Cinema ◽  
The Third ◽  
Religion And Media ◽  
History Of ◽  
Film Texts

The introduction outlines a genealogy of how cinema and other media created new cultural contexts and new cultural subjects in the twentieth century India, thereby transforming religion and producing the hybrid figure of the citizen–devotee. The first section presents conceptual debates on secularism, citizenship, religion and media, embodiment and affect that frame this study. The second section is a detailed account of the mythological and devotional genres in Indian cinema and the predominant critical frameworks. The third focuses on the history of Telugu cinema tracing the different performative traditions and oral and printed texts that form a basis for these genres. It argues that both cinema technology and new political contexts mediate existing texts and traditions significantly. The final section describes the historical and ethnographic methods adopted in the study and the range of materials—film texts, publicity material, interviews, memoirs, and biographies of film-makers—used.

Cultural Landscapes

2012 ◽  
Author(s):  
Lesley Head
Keyword(s):  
Twentieth Century ◽  
Cultural Landscape ◽  
Final Section ◽  
Cultural Landscapes ◽  
Human Action ◽  
Heritage Management ◽  
Nature And Culture ◽  
The Earth ◽  
History Of ◽  
Geographic Differences

This article explores the idea of cultural landscapes. The term ‘cultural landscape’ is widely recognized as a description of a region of the earth that has been transformed by human action. This article explores the history of the idea of cultural landscapes, focusing on two dichotomies. The first is the dichotomy between materiality and symbolism; from highly material beginnings in the early twentieth century, the second is the dichotomy between nature and culture, concepts treated as oppositional for much of this history. It then examines some of the geographic differences, with particular attention to Australian and Scandinavian examples. The next section explores what happens when the cultural landscape idea itself becomes materialized, in the form of land and heritage management frameworks. The final section presents a recent critique of the cultural landscape concept and asks whether it is possible to go beyond the dichotomies, and whether the concept retains any usefulness.

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.

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