Shadow and Substance

2016 ◽  
Author(s):  
Melissa Sihra
Keyword(s):  
Twentieth Century ◽  
Substance P ◽  
First Century ◽  
Main Stage ◽  
Women Playwrights ◽  
Irish Woman ◽  
Irish Theatre ◽  
Critical Attention ◽  
Theatre Company

In spite of the very important role of women in the development of Irish theatre through the twentieth century, their contribution has continued to be marginalized, with ‘women’s drama’ set off against an implicit male norm. This was still obvious in the Abbey Theatre’s centenary programme, in which no play by a woman featured on the theatre’s main stage. The work of Charabanc Theatre Company, a women’s collective, and the highly successful plays of Marie Jones emerging from that company can be contrasted with the male-dominated Field Day in terms of a disparity of critical attention. Marina Carr, the Irish woman playwright best known internationally, in spite of the strong gender concerns of her plays, has been reluctant to identify herself as ‘feminist’ because of its associations. It has only been in the twenty-first century that the work of women playwrights and directors has been accepted as part of mainstream theatre .

Micro-literature and Parodic Games in John Crace’s Brideshead Abbreviated: The Digested Read of the Twentieth Century

Tekstualia ◽  
2018 ◽  
Vol 1 (4) ◽  
pp. 95-108
Author(s):  
Katarzyna Szeremeta
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Critical Attention ◽  
Transformative Process ◽  
Twenty First Century ◽  
Literary Classics ◽  
Role Of The Reader ◽  
The Guardian

The following article aims to discuss parodic reworkings of literary classics for the twenty-first century readers as a form of micro-literature. The short format initiated in 2000 by the British satirist John Crace in The Guardian has become increasingly popular and outshone longer, traditional narratives. Although it generated significant critical attention it has not been exhausted by other researchers. Thus, the main objective is the analysis of the transformative process of digestion between source-texts and their abridged versions. The most relevant aspects investigated here include generic boundaries of parody and pastiche, intertextual strategies and the role of the reader.

scholarly journals Corporate headquarters in the twenty-first century: an organization design perspective

2020 ◽  
Vol 9 (1) ◽  
Author(s):  
Sven Kunisch ◽  
Markus Menz ◽  
David Collis
Keyword(s):  
Twentieth Century ◽  
Organization Design ◽  
Business Environment ◽  
First Century ◽  
Future Research ◽  
Corporate Headquarters ◽  
Special Collection ◽  
Design Perspective ◽  
Twenty First Century

Abstract The corporate headquarters (CHQ) of the multi-business enterprise, which emerged as the dominant organizational form for the conduct of business in the twentieth century, has attracted considerable scholarly attention. As the business environment undergoes a fundamental transition in the twenty-first century, we believe that understanding the evolving role of the CHQ from an organization design perspective will offer unique insights into the nature of business activity in the future. The purpose of this article, in keeping with the theme of the Journal of Organization Design Special Collection, is thus to invigorate research into the CHQ. We begin by explicating four canonical questions related to the design of the CHQ. We then survey fundamental changes in the business environment occurring in the twenty-first century, and discuss their potential implications for CHQ design. When suitable here we also refer to the contributions published in our Special Collection. Finally, we put forward recommendations for advancements and new directions for future research to foster a deeper and broader understanding of the topic. We believe that we are on the cusp of a change in the CHQ as radical as that which saw its initial emergence in the late nineteenth/early twentieth century. Exactly what form that change will take remains for practitioners and researchers to inform.

Epilogue

2017 ◽  
Author(s):  
Jennifer Le Zotte
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Popular Culture ◽  
First Century ◽  
Heroin User ◽  
Average Consumer ◽  
Cultural Currency ◽  
The Social ◽  
Used Goods

The epilogue discusses the contining role of secondhand commerce and style in the twenty-first century United States. Throughout the twentieth century, used goods economies codified and expanded, branching out into million-dollar industries. Vintage exhibitionism and elective poverty merged even more decisively at the end of the millennium. After habitual heroin user Kurt Cobain took his own life with a shotgun in 1994, styles straight-facedly called shabby chic, heroin chic, or poor chic enjoyed greater cultural currency than ever before. Voluntary secondhand dress persists precisely because it suggests both cultural and economic distinction, and shoppers continued to view secondhand venues as exceptions to the social and economic critiques of dominant capitalisms. Secondhand styles satisfy a desire to be seen as different than the average consumer dupe, as willing to invest time in the cultivation of originality without utilizing class and wealth privilege. The success of the 2013 song, “Thrift Shop,” by independent rappers Macklemore and Lewis—born and raised in the hometown of grunge, Seattle— attests to the continuing relevance of secondhand to popular culture.

10 Evolution and Gestalt of the Italian State

2017 ◽  
Author(s):  
Mattarella Bernardo Giorgio
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Public Administration ◽  
Historical Development ◽  
Prime Minister ◽  
Administrative Law ◽  
First Century ◽  
Marked Rise ◽  
The Republic

This chapter presents an analysis of Italy's administrative history. It looks at the historical development of Italian public administration and administrative law in Italy beginning from the nineteenth century. The chapter then proceeds to the first half of the twentieth century, focusing primarily on the policies of Prime Minister Giovanni Giolitti, which saw a marked rise in changes and developments within administrative law. Also of note during this period was the role of administrative law during the era of fascism in Italy. The latter half of the twentieth century would mark a departure from this period, focusing mainly on liberal administrative law and the Republic. Finally, the chapter turns to the features of administrative law in the twenty-first century, before closing with some concluding remarks on the features peculiar to Italian administrative law.

Stein, Gertrude (1874–1946)

2018 ◽  
Author(s):  
Bob Perelman
Keyword(s):  
Twentieth Century ◽  
Gertrude Stein ◽  
First Century ◽  
Public Figure ◽  
Literary Achievement ◽  
Critical Attention ◽  
Language Writing ◽  
The Usa ◽  
Twenty First Century

Gertrude Stein was a modernist writer of the twentieth century, notable for the extremity of her stylistic innovations. During the first half of her career, her radical experimentation made her a target of mockery. In 1933, she published The Autobiography of Alice B. Toklas, a memoir of modernist activity in Paris written in a more accessible style. Intellectually serious but amusing and filled with gossip about charismatic figures (Picasso and Hemingway, among others), it was a surprise best seller in the USA and made Stein a celebrity; she remained an affectionately regarded public figure for the rest of her life. However, at her death and for decades after, she was not a respectable object of critical attention. To university critics, Joyce, Pound, and Eliot had set the standard for literary achievement, and Stein’s work seemed a formless self-indulgence. It was not until the latter decades of the twentieth century, with the rise of a number of related intellectual and artistic forces — feminist critics and poets, the general US innovative poetic tendency, Language writing, and post-structuralism — that Stein began to be taken seriously. In the twenty-first century, while her writing still raises controversy, it is prominent in the modernist canon.

White Heat

2018 ◽  
pp. 25-57
Author(s):  
Steven McKevitt
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
New Right ◽  
Consumer Society ◽  
Early Twenty ◽  
Post War ◽  
The Uk ◽  
The Impact

Chapter 1 looks at consumption, consumerism, and the emergence of the consumer society in Britain at the end of the twentieth century. It draws out the main academic debates concerning consumption and its evolving role in society and explores changes in work, leisure, gender roles, family life, and living standards in the UK in the twentieth century. There follows an examination of the impact of the New Right and its ideology in Britain in the 1980s and 1990s and also the renaissance in popular culture from the 1970s, which not only helped to drive the expansion of the mass media but was also fueled by it. It concludes with an analysis of arguments presented by critics of affluence from the post-war period to the early twenty-first century. There is particular emphasis on the role of persuasion within market economies.

Women, economy, war

2010 ◽  
Vol 92 (877) ◽  
pp. 161-176 ◽  
Author(s):  
Carolyn Nordstrom
Keyword(s):  
Twentieth Century ◽  
Political Violence ◽  
Informal Economy ◽  
First Century ◽  
Vanishing Points ◽  
Trade Networks ◽  
The Public ◽  
Informal Economies ◽  
Victims Of Violence

AbstractPolitical violence amplifies contemporary trends occurring worldwide in the twenty-first century: globalization, an increasing reliance on the informal economy, a shift from twentieth-century manufacturing to resource and labour wildcatting, and the growth of complex international extra-legal trade networks. Women are central to all of these, though their roles both as leaders of development and victims of violence are often overlooked in mainstream analyses. To explain these invisibilities, this article introduces the concept of vanishing points – places where formal analyses and policy effectively cease, such as the dividing lines between formal and informal economies, and the violence associated with controlling extra-legal profits that is effectively invisible to the public at large. The realities of women's work amid political violence and postwar development, and across the spectrum of in/formality are explored. The conclusions serve to challenge established notions of power, profit, and economy, and the role of gender within these.

scholarly journals Fragments and Fakes: The Arbor consanguinitatis of the Fondation Martin Bodmer and a Contemporary Forgery

Fragmentology ◽  
10.24446/uau ◽  
2018 ◽  
Vol 1 ◽  
pp. 121-153
Author(s):  
William Duba ◽  
Christoph Flüeler
Keyword(s):  
Twentieth Century ◽  
Content Analysis ◽  
First Century ◽  
New Class ◽  
Twenty First Century ◽  
First Folio ◽  
Changing Role

A tree of consanguinity (arbor consanguinitatis) contained in a manuscript published on e-codices (Cologny, Fondation Martin Bodmer, Cod. Bodmer 28), served as the model for a new class of forgery. An analysis of the Bodmer leaf in the context of other arbores consanguinitatis shows how the leaf relates to tradition; an examination of the leaf’s history and provenance reveals that the leaf was mutilated, probably in the mid-twentieth century. The forgery is proven to be such through a paleographical and content analysis of the script, and through an examination of the leaf’s method of composition. A second forgery is examined, a fragment of Jerome’s Epistle 53, fabricated from the first folio of another e-codices manuscript, Aarau, Aargauer Kantonsbibliothek MsWettF 11. The forgeries and their circulation provides the opportunity for an assessment of the changing role of manuscript fragments and fakes in the twenty-first century.

scholarly journals Political Theatre in the Age of Brexit: The State of Nation in Monologues

2019 ◽  
Vol 33 (1) ◽  
pp. 171-188
Author(s):  
Banu Öğünç
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The State ◽  
First Century ◽  
Political Theatre ◽  
Constant Flux ◽  
Social Events ◽  
The World ◽  
Theatre Company ◽  
Definition Of

AbstractOn the British stage, political theatre, which emerged in the twentieth century, has been linked with the problems of the working class as initiated in the 1920s until the early 1960s. With the end of the official censorship of theatre in 1968, political theatre in Britain experienced a period in which socialist works marked the stage. Nevertheless, the 1990s challenged the association of political theatre with the conditions of the working class. Considering the current political and social events in Britain and around the world, it is appropriate to underline that political theatre is not only in a constant flux, but its definition has been once again challenged. In this regard, Brexit can be considered as one of the most significant movements to influence the understanding of political theatre in the twenty-first century. Consequently, this study aims to analyse Brexit Shorts: Dramas from a Divided Nation (2017), a co-production by the Guardian and Headlong Theatre Company and discuss their contribution to the changing definition of political theatre. Brexit Shorts will be further explored regarding their influence on the popularity of monologues as a mode of performance.

scholarly journals Aesthetic Views and Ideas of F. Busoni in the Development of Musical Art of the XX Century

2020 ◽  
Vol 16 (1) ◽  
pp. 157-169
Author(s):  
Yan Yuan
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Freedom Of Expression ◽  
Main Direction ◽  
First Century ◽  
Comparative Approach ◽  
New Instrument ◽  
Twenty First Century ◽  
The Aesthetic

Summary: The main direction of the article is the study of the leading aesthetic attitudes and ideas of F. Busoni, who influenced the development of music in the twentieth century. The purpose of the work is to systematize and generalize the representations of musicians of the twentieth century on the role of F. Busoni in the development of composer and performing musical art. For this, a comprehensive, hermeneutic, comparative approach is applied. In his books, F. Busoni outlined many ways in which the music of the twentieth century subsequently developed – from an expanded interpretation of tonality, harmony and harmony to new ways of composition, which he summarized in his letter to P. Becker as “new classicism”. The aesthetic views and ideas of F. Busoni expressed by him in relation to both composer and performing creativity were repeatedly discussed by the composer in a polemic with A. Schoenberg and G. Pfitsner, were supported by his students L. Grünberg, O. Luning, as well as many other composers and performers in the twentieth century. Attempts at creating F. Busoni’s new modal structures summarized the leading directions in the search for “new expressiveness” from N. Rimsky-Korsakov, M. Mussorgsky and the late A. Scriabin to O. Messian, P. Hindemith and B. Bartok. The composer’s desire to expand the ability of the fret by dividing it not by semitones, but by quarter tones and less influenced his creation of plans for the production of a new instrument – harmonium for producing a third of tones, which anticipated subsequent experiments and achievements in the field of electronic music. His aesthetic attitudes regarding the expression of feelings in the measures of art “opened” the discussion regarding the art of interpretation, dividing the music audience into two camps – who welcomed the freedom of expression of the musician-performer and who considered the requirements of musical objectivity to be quite justified, like M. Ravel, P. Hindemith and I. Stravinsky. It was they who supported the aesthetic essence of “new classicism” formulated by F. Busoni in the ideals of clear logic, a sense of style and the high art of polyphony – all those qualities that were his guide in the music of I.S. Bach. Formulated in the works of the composer, aesthetic views and ideas continue to develop and make sense in the musical art of the twenty-first century.

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