Quine’s Deflationary Structuralism

2020 ◽  
pp. 96-116
Author(s):  
Paul A. Gregory
Keyword(s):  
Twentieth Century ◽  
Scientific Metaphysics ◽  
The 1950S

W. V. Quine undermined and rejected Rudolf Carnap’s metaphysical deflationism, reinstating scientific metaphysics. Despite this, Quine eventually develops his own brand of structuralist metaphysics that is equally though differently deflationary. This chapter traces the development of Quine’s deflationary attitude from the 1950s through to the 1990s. Quine’s early deflationary attitude gains focus with the emergence and prominence of the proxy function argument—objects are merely neutral nodes in theory structures—and deflationary structuralism is the result. The chapter concludes that Quine has been an interesting kind of ontological deflationist from early on, and that the deflationary structuralism that develops during the second half of the twentieth century is an integral and co-evolving part of his overall naturalism.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

Coda

2020 ◽  
pp. 734-743
Author(s):  
Laura U. Marks
Keyword(s):  
Twentieth Century ◽  
Religious Fundamentalism ◽  
Labor Movements ◽  
Grassroots Politics ◽  
International Solidarity ◽  
Guerrilla Movements ◽  
History Of ◽  
Armed Resistance ◽  
The 1950S ◽  
Arabic Speaking

In the twentieth-century Arabic-speaking world, communism animated anticolonial revolutions, workers’ organizations, guerrilla movements, and international solidarity. The communist dream was cut short by Arab governments, deals with global superpowers, the rise of religious fundamentalism, and historical bad luck. But recently a remarkable number of Arab filmmakers have turned their attention to the history of the radical Left. Filmmakers from Iraq, Syria, Lebanon, Palestine, Egypt, Algeria, Tunisia, and Morocco have been urgently seeking models for grassroots politics in the labor movements, communist parties, and secular armed resistance of earlier generations. This coda explores two strata of communist audiovisual praxis: the radical cinema that supported labor movements and guerrilla actions from the 1950s to the 1980s, and recent films that draw on that earlier movement. The coda argues that the Arab audiovisual archive holds flashes of communism that have been neither fulfilled nor entirely extinguished. The new films release their unspent energy into the present, diagnosing earlier failures of Arab communism and making plans for new forms of solidarity.

Epilogue

2018 ◽  
Author(s):  
Kendra Taira Field
Keyword(s):  
Twentieth Century ◽  
Jim Crow ◽  
Great Migration ◽  
Left Behind ◽  
History Of ◽  
The Great Migration ◽  
Image Fit ◽  
The 1950S ◽  
Back To Africa

“Grandpa went back to Africa with Garvey,” my grandmother recalled. I carried this precious refrain into the archives with me. In Garvey’s place, I found Chief Sam, in the black and Indian borderlands of Oklahoma. While the Great Migration had largely displaced the preceding history of black rural emigration at the nadir, so had Garveyism displaced descendants’ memories of the Chief Sam movement. Meanwhile, scholars portrayed the movement as the product of a single charismatic charlatan and his nameless, faceless followers. Relying almost exclusively on U.S. sources and the memories of those “left behind” in an economically depressed and politically repressed Jim Crow Oklahoma, the only book-length study of the movement, written in the 1950s, argued that the Chief Sam movement illustrated “the desperate hopes of an utterly desperate group of people.” The image fit easily with twentieth-century American tropes of black victimhood and criminality....

scholarly journals Clarendon Palace. The History and Archaeology of a Medieval Palace and Hunting Lodge near Salisbury, Wiltshire

1989 ◽  
Author(s):  
Tom Beaumont James ◽  
Anne M. James
Keyword(s):  
Twentieth Century ◽  
The 1950S ◽  
First Time ◽  
Detailed Picture

This volume gives an account of all the excavations undertaken at Clarendon in the twentieth century, including those of 1933–9 led by John Charlton and Tancred Borenius and the excavations by Elizabeth Eames and John Musty in the 1950s and 1960s. The history, archaeology and finds are examined together for the first time to present a detailed picture of palace life.

A “Burlesque Queen in Bobby Socks”: Domesticity, Criminality, and Suspense in Charles Williams’s Noir Fiction

2021 ◽  
Author(s):  
Maysaa Husam Jaber
Keyword(s):  
Twentieth Century ◽  
Gender Roles ◽  
Gender Schema ◽  
The Us ◽  
The 1950S ◽  
Post War ◽  
Noir Fiction ◽  
The Way

This article proposes that Charles Williams’s mid-twentieth-century noir fiction reshapes post-war representations of gender roles and paves the way for various renditions and developments of noir. Williams’s works are narratives of transgression meeting domesticity, crime meeting docility, and cunning meeting conformity; they portray a deadly recipe that comprises different, even conflicting ingredients of a fusion between domesticity, crime, and suspense. By examining the recurring figure of the criminal housewife in his work, especially Hell Hath No Fury (1953), this article argues that Williams brings forth a complex and subversive gender schema to trouble both the creed of domesticity popular in the 1950s and the stereotyping of the lethal seductress prevalent in noir fiction. By so doing, Williams’s noir not only brings the transgression of women to the fore but also displays a compelling picture of post-war gender roles in the US under McCarthyism.

Labour in the Technocratic Frame: Macroeconomic Policy and Wages in 1950s Australia

2021 ◽  
Vol 121 (1) ◽  
pp. 129-154
Author(s):  
Michael Beggs
Keyword(s):  
Twentieth Century ◽  
Labour Market ◽  
Full Employment ◽  
Macroeconomic Policy ◽  
Economic Power ◽  
Wage Setting ◽  
Employment Conditions ◽  
Setting Process ◽  
The 1950S

Though the labour market has always been central to macroeconomics, policy has usually had no instrument for intervening directly in the wage-setting process. But in the mid-twentieth century, economists commonly believed that there should be such an instrument. In 1950s Australia, it seemed that the arbitration system could potentially be used as such. This article uses Trevor Swan’s contemporary model of Australian policy in the 1950s to understand the tensions facing policy and explain why wage control seemed to be a solution. The arbitration judges began to consider macroeconomics in their decisions, and the unions adapted by presenting macroeconomic arguments of their own. In full employment conditions, labour had considerable economic power outside the tribunal, and the limitations of arbitration as an instrument of policy raised the shadow of unemployment as an alternative disciplining device.

Introduction

2018 ◽  
pp. 1-12
Author(s):  
Ronny Regev
Keyword(s):  
Twentieth Century ◽  
Golden Age ◽  
Work Practices ◽  
The People ◽  
Film Content ◽  
Studio System ◽  
The 1950S

This chapter provides an overview of the main themes of the book. It explains Working in Hollywood’s main objective: to redraw the glamorous image of Hollywood and demonstrate that the film industry’s golden age (1920-1950) was not only defined by film content and celebrities but also by the people employed in the studio system, their work practices, and interactions on the job. It suggests there is much to learn by shifting our gaze from the pictures to the people who made them. In addition, the chapter offers a short timeline of the studio system, from the formation of Paramount, MGM, Twentieth Century-Fox, and RKO – the five vertically integrated major companies, in the 1920s, to the system’s disintegration in the 1950s.

scholarly journals Vulgar Modernism: J. M. Richards, Modernism and the Vernacular in British Architecture

2015 ◽  
Vol 58 ◽  
pp. 229-259 ◽  
Author(s):  
Jessica Kelly
Keyword(s):  
Twentieth Century ◽  
Modern Architecture ◽  
The World ◽  
Architectural Review ◽  
The 1950S ◽  
British Architecture ◽  
The Relationship ◽  
Reyner Banham

In 1946 J. M. Richards, editor of theArchitectural Review (AR)and self-proclaimed champion of modernism, published a book entitledThe Castles on the Ground(Fig. 1). This book, written while working for the Ministry of Information (Mol) in Cairo during the war, was a study of British suburban architecture and contained long, romantic descriptions of the suburban house and garden. Richards described the suburb as a place in which ‘everything is in its place’ and where ‘the abruptness, the barbarities of the world are far away’. For this reasonThe Castles on the Groundis most often remembered as a retreat from pre-war modernism, into nostalgia for mock-Tudor houses and privet hedges. The writer and critic Reyner Banham, who worked with Richards at the AR in the 1950s, described the book as a ‘blank betrayal of everything that Modern Architecture was supposed to stand for’. More recently, however, it has been rediscovered and reassessed for its contribution to mid-twentieth-century debates about the relationship between modern architects and the British public. These reassessments get closer to Richards’s original aim for the book. He was not concerned with the style of suburban architecture for its own sake, but with the question of why the style was so popular and what it meant for the role of modern architects in Britain and their relationship to the ‘man in the street’.

As Seen on TV: Putting the NBC Opera on Stage

2018 ◽  
Vol 71 (3) ◽  
pp. 595-654 ◽  
Author(s):  
Danielle Ward-Griffin
Keyword(s):  
Twentieth Century ◽  
Small Scale ◽  
Television Watching ◽  
New Model ◽  
The 1950S ◽  
La Traviata ◽  
The Relationship ◽  
Opera Houses

This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.

scholarly journals 150 YEARS OF ROYAL HISTORICAL SOCIETY PUBLISHING

2018 ◽  
Vol 28 ◽  
pp. 265-288
Author(s):  
Ian W. Archer
Keyword(s):  
Twentieth Century ◽  
Open Access ◽  
Electronic Version ◽  
Future Directions ◽  
Historical Society ◽  
Monograph Series ◽  
150Th Anniversary ◽  
Longue Duree ◽  
The 1950S

ABSTRACTThe 150th anniversary of the Royal Historical Society offers an opportunity for an investigation into its publications over the longue durée. Its slow transformation from an association of literary dilettanti to a body of professional historians in the period 1890–1910 was accompanied by changes to its publication programme: the appointment of a literary director, an improvement in the quality of papers read, the merger with the Camden Society and the commitment to a programme of historical bibliographies established the basis of the Society's publishing programme for much of the twentieth century. The interwar years saw new initiatives including the launch of Guides and Handbooks, but the Society was already losing momentum, and an ill-fated foray into the publication of diplomatic records stymied its reputation. The 1950s and 1960s were a period of ongoing stasis, from which the Society was rescued in the early 1970s by G. R. Elton and his allies, who promoted a monograph series and the Annual Bibliographies. The momentum of change was sustained by the early commitment to an electronic version of its bibliographies, and still more recently by a commitment to open access monographs. The changing profile of the Society's publications by gender of author, period and area is charted, raising questions about future directions.

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