Narratives of Progress and Tragedy in

2014 ◽  
Author(s):  
Paul Filmer
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Binary Structure ◽  
The Enlightenment ◽  
Modes Of Representation ◽  
American Tradition ◽  
Late Twentieth ◽  
American Society ◽  
Late Twentieth Century

When it was first produced in 1976,Pacific Overturesattracted praise and opprobrium in almost equal measure. It was characterized by critics as both the supreme intellectual, as well as musical theatrical achievement of the Sondheim–Prince collaborations, and as the most cynical betrayal of the authentic vernacular American tradition of the musical. At a number of levels, both formal and substantive, it is a reflexive exploration of the tension between the national and global conditions of late twentieth-century American cultural identity and ambitions and their relation to the legacy of the Enlightenment origins of American society. The two levels discussed in detail are those of the relations between and modes of representation of the principal characters, and the processes of transition between traditional and modern societies. The chapter argues that the binary structure of the theatrical organization ofPacific Overturesin two sequential parts raises issues of the inevitability of the inversion of progress into tragedy.

A New Denominational Historiography?

1995 ◽  
Vol 5 (2) ◽  
pp. 249-263
Author(s):  
John F. Wilson
Keyword(s):  
Twentieth Century ◽  
Recent Analysis ◽  
General Factor ◽  
Religious Organization ◽  
Religious Institution ◽  
Large Numbers ◽  
The Status ◽  
Late Twentieth ◽  
American Society ◽  
Late Twentieth Century

Over the last decade, a noteworthy number of published studies have, in one fashion or another, been defined with reference to religious denominations. This is an arresting fact, for, coincidentally, the status of religious denominations in the society has been called into question. Some formerly powerful bodies have lost membership (at least relatively speaking) and now experience reduced influence, while newer forms of religious organization(s)—e.g., parachurch groups and loosely structured movements—have flourished. The most compelling recent analysis of religion in modern American society gives relatively little attention to them. Why, then, have publications in large numbers appeared, in scale almost seeming to be correlated inversely to this trend?No single answer to this question is adequate. Surely one general factor is that historians often “work out of phase” with contemporary social change. If denominations have been displaced as a form of religious institution in society in the late twentieth century, then their prominence in earlier eras is all the more intriguing.

Feminine Economies: Thinking against the Market in the Enlightenment and the Late Twentieth Century

2000 ◽  
Vol 95 (2) ◽  
pp. 474
Author(s):  
Alison Chapman ◽  
Judith Still ◽  
Barbara Leah Harman ◽  
Suzanne Keen
Keyword(s):  
Twentieth Century ◽  
The Enlightenment ◽  
Late Twentieth ◽  
Late Twentieth Century

Afterword

2017 ◽  
Author(s):  
Margaret Bendroth
Keyword(s):  
Twentieth Century ◽  
American Culture ◽  
The Public ◽  
Billy Graham ◽  
Late Twentieth ◽  
American Society ◽  
Long Term Impact ◽  
American Evangelicalism ◽  
Late Twentieth Century

This chapter assesses Billy Graham’s long-term impact on American evangelicalism and American culture. At last estimates, he evangelized over two billion people during his sixty-year career. He remained culturally nimble enough to stay in the public eye through all the tumultuous years of the late twentieth century. Billy Graham did not just reflect his times—he also changed them. Exactly what that means is a matter of debate. Despite the evangelist’s durable popularity, his legacy is surprisingly difficult to measure. This chapter identifies that there are uncertainties about the future of the evangelical world Billy Graham shaped, and that the long-term prospects for religion in American society remain uncertain. It also discusses the possible successors to Graham and posits that a successor—if there will be one at all—is unlikely to be an American.

THE ENLIGHTENMENT AND ITS PERVERSION IN THE WEST

2009 ◽  
Vol 11 (1) ◽  
pp. 91-108
Author(s):  
Elisabeth Roudinesco
Keyword(s):  
Twentieth Century ◽  
Critical Philosophy ◽  
The West ◽  
The Enlightenment ◽  
Late Twentieth ◽  
Century Science ◽  
Late Twentieth Century

The concept of ‘perversion’ is introduced, with all its resonances from the vocabulary of psychopathology and more generally in critical philosophy, in juxtaposition to the philosophy and values of the Enlightenment, following Adorno and Horkheimer's evaluation in the light of the monstrosities of twentieth-century history. The author considers recent perverse developments in the culture of late twentieth-century science, in particular cognitivism, in their relation to the psychoanalytic tradition and the vision of humanity found in these competing traditions. The paper finally considers three modern test-domains: contradictory responses to prostitution; pornographic therapy; the borderlands between the animal, the robot and the human.

Translation in the Kurdish magazine Hawar

2019 ◽  
Vol 14 (2) ◽  
pp. 283-305 ◽  
Author(s):  
Bilal Çelik
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Cultural Aspects ◽  
Late Twentieth ◽  
Late Twentieth Century

Abstract This article explores the role of translation in forming and legitimizing a Kurdish cultural identity through diverse renderings in the Kurdish magazine Hawar launched by Celadet Alî Bedirxan between 1932 and 1943 in Damascus. It also sheds light on the tense relationship between Kurdish and Turkish cultures, which also impacted the translational and cultural aspects of the periodical. This relation has relatively improved from the late twentieth century onwards. My argument is that the composition of Hawar as a whole and translations in the periodical aimed to form a Kurdish cultural identity and legitimize it both for the Kurds and worldwide audience in the historical conditions of the 1930s and 1940s. This article will point out the pivotal position of translation in the composition of Hawar and the role played by Celadet Alî Bedirxan as an agent in this undertaking.

scholarly journals "THE ERA OF THE STRONG BUT FEMININE WOMAN”: INTERTEXT IN THE PLAY “THE SISTERS ROSENSWEIG” BY W. WASSERSTEIN

2021 ◽  
Vol 1 (16) ◽  
pp. 68-73
Author(s):  
Y. Ostropalchenko
Keyword(s):  
Twentieth Century ◽  
American Woman ◽  
Literary Studies ◽  
Important Material ◽  
Late Twentieth ◽  
American Society ◽  
Wendy Wasserstein ◽  
Three Sisters ◽  
Late Twentieth Century

The drama of the American writer Wendy Wasserstein is an important material for literary studies. Of particular interest for the study is the intertextual aspect of her work. The article analyses the interpretation of Chekhov`s motives (on the example of the drama “Three Sisters”) in Wasserstein’s drama on the example of the play “Sisters Rosensweig” (1992). It is determined that the concept of intertextuality in literary studies means the interaction of any text with each other, the superposition of the text on another. The main aspects of intertextuality that are relevant for the analysis of W. Wasserstein’s drama are analyzed and highlighted. Chekhov’s motives are described in the drama “The Sisters Rosenzweig” and the commonalities and differences between Chekhov’s play “Three Sisters” and Wasserstein are highlighted. The ideological-aesthetic and genre transformations of Chekhov’s artistic models proposed by an American woman playwright are analysed. The use of the classification of intertexts rel­evant for the analysis of plays by W. Wasserstein, according to M. Trostnikov is substantiated. In Chekhov’s play adapted by an American female playwrigh, popular plots and motifs receive a different feminist, optimistic sound development that meets the needs of late twentieth-century American society as well as in the con­text of novelty. Chekhov’s motives in Wasserstein’s drama made it possible to assess the degree of intertextuality of the play “The Sisters Rosenzweig”, in particular to find clear components of intertextuality in the drama. Rewriting Chekhov’s drama “Three Sisters” (1901) at the gap of almost a century, American playwright Wendy Wasserstein described the life of the Chekhov sisters in the modern way: successful professionals, two sisters realized themselves at the same time in motherhood and with love. Wasserstein practically preserved the plot, motives, artistic techniques and details in her modern play. The play­wright creates an interesting intertext that captivates the reader with a play on the discovery of “Chekhov style” in the text, the recognition of factual material and fiction.

Genre, Ethnoracial Alterity, and the Genesis of jazz manouche

2019 ◽  
Vol 72 (3) ◽  
pp. 665-718
Author(s):  
Siv B. Lie
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Historical Development ◽  
Community Practice ◽  
Archival Research ◽  
National Belonging ◽  
Ethnoracial Identity ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Django Reinhardt

Based on the music of legendary guitarist Django Reinhardt, jazz manouche is a popular genre that emerged during the late twentieth century. This article examines the historical development of jazz manouche in relation to ideologies about ethnoracial identity in France. Jazz manouche is strongly associated with French Manouches, the subgroup of Romanies (“Gypsies”) to which Reinhardt belonged. In the decades following Reinhardt's death in 1953, some Manouches adopted his music as a community practice. Simultaneously, critics, promoters, and activists extolled the putative ethnoracial character of this music, giving rise to the “jazz manouche” label as a cornerstone of both socially conscious and profit-generating strategies. Drawing on analysis of published criticism, archival research, and interviews, I argue that ethnoracial and generic categories can develop symbiotically, each informing and reflecting ideologies about cultural identity and its sonic expressions. Jazz manouche grew out of essentializing notions about Manouche identity, while Manouches have been racialized through reductive narratives about jazz manouche. In this case, an investigation of genre formation can inform understandings of ethnoracial identity and national belonging.

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