Secularization and Gender: an Historical Approach To Women and Religion in the Twentieth Century

2001 ◽  
Vol 13 (1-4) ◽  
pp. 209-223 ◽  
Author(s):  
Virginia Lieson Brereton ◽  
Margaret Lamberts Bendroth
Keyword(s):  
Twentieth Century ◽  
Historical Approach ◽  
Women And Religion ◽  
And Gender

Women, Gender and Religion in Modern China, 1900s-1950s: An Introduction

NAN Nü ◽  
2017 ◽  
Vol 19 (1) ◽  
pp. 1-27 ◽  
Author(s):  
Xiaofei Kang
Keyword(s):  
Twentieth Century ◽  
Academic Research ◽  
Modern China ◽  
Women And Gender ◽  
Scholarly Literature ◽  
Chinese Modernity ◽  
Women And Religion ◽  
Chinese Religions ◽  
And Gender ◽  
The Relationship

Over the last several decades, there has been a voluminous amount of scholarly literature about the transformation of women and gender, as well as about the reconstruction of Chinese religions in the context of twentieth-century Chinese modernity. The relationship and intersection of these two separated fields, however, remain uncharted territory. This essay is an introduction to three studies which address this lacuna. It places these writings in the existing scholarship on themes related to women, gender, and religion, and outlines the various ways in which they bring together the two hitherto disconnected facets of academic research on women and religion in the study of modern China, with a focus on the period from the 1900s to 1950s. Together they highlight the gender dynamics of the twentieth-century construction of Chinese religions, and forge new gendered understandings of Chinese modernity.


Moving Pictures and Renaissance Art History

2021 ◽  
Author(s):  
Patricia Emison
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Visual Art ◽  
Renaissance Art ◽  
Word And Image ◽  
Visual Composition ◽  
Moving Pictures ◽  
And Gender

Film, like the printed imagery inaugurated during the Renaissance, spread ideas---not least the idea of the power of visual art---across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, 1920s-mid-60s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, narrative and visual composition shifted in both cases toward acknowledging the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates and preoccupations are part of the story told here.

The Reception of Thomas Aquinas by Neo-Scholastic Philosophers in the First Half of the Twentieth Century

2021 ◽  
pp. 375-391
Author(s):  
Bernard N. Schumacher
Keyword(s):  
Twentieth Century ◽  
Thomas Aquinas ◽  
Theory Of Knowledge ◽  
Medieval Philosophy ◽  
Historical Approach ◽  
Philosophical Reflection ◽  
The Public ◽  
Public Arena ◽  
The University

Thomism at the beginning of the twentieth century was situated largely within the context of the secular university that regarded medieval thought as nothing more than an archaic system belonging to a period devoid of philosophical reflection. The renewal of Thomism during the first two decades of the twentieth century was of very little concern to most academics and was marked principally by a debate, often polemical, over the theory of knowledge launched by Blondel. The Thomists of the period between the two world wars wanted to bring Thomism to the university scene and into the public arena by addressing contemporary questions in terms provided by Thomas Aquinas, while affirming that philosophy gains in depth and strength when it is rooted in theology and faith. Gilson developed a historical approach of medieval philosophy and theology, while Maritain and Pieper proposed to rethink contemporary problems analytically according to the method of Thomas Aquinas.

Cuban Revolutionary Politics in Diaspora

2017 ◽  
Author(s):  
Dalia Antonia Muller
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Political Culture ◽  
National Association ◽  
The Political ◽  
Independence Movement ◽  
Revolutionary Politics ◽  
Revolutionary Party ◽  
And Gender

This chapter tells the story of two key and connected institutions of the Cuban Independence movement outside of Cuba: the Cuban Revolutionary Party (PRC) and the National Association of Cuban Revolutionary Émigrés (ANERC). These institutions and their records have much to teach us about the political culture of Cubans in exile during the second half of the nineteenth century. More specifically, the chapter explores the tension between inclusion and exclusion that marked both institutions during the 1890s and the first few decades of the twentieth century, with a special emphasis on race, class and gender.

Gender Identity without Gender Prescriptions

1998 ◽  
pp. 104-111
Author(s):  
Janet C. Wesselius
Keyword(s):  
Twentieth Century ◽  
Gender Identity ◽  
A Priori ◽  
Social Practices ◽  
Sex And Gender ◽  
Feminist Politics ◽  
Emancipatory Politics ◽  
And Gender ◽  
Gender Categories ◽  
Susan Bordo

The feminist philosopher Susan Bordo suggests that the dilemma of twentieth-century feminism is the tension between a gender identity that both mobilizes a liberatory politics on behalf of women and that results in gender prescriptions which excludes many women. This tension seems especially acute in feminist debates about essentialism/deconstructionism. Concentrating on the shared sex of women may run the risk of embracing an essentialism that ignores the differences among women, whereas emphasizing the constructed natures of sex and gender categories seems to threaten the very project of a feminist politics. I will analyze the possibility of dismantling gender prescriptions while retaining a gender identity that can be the beginning for an emancipatory politics. Perhaps feminists need not rely on a reified essentialism that elides the differences of race, class, etc., if we begin with our social practices of classification rather than with a priori generalizations about the nature of women.

Churchill’s Wars

2021 ◽  
pp. 56-91
Author(s):  
Ian Ward
Keyword(s):  
Twentieth Century ◽  
Seventeenth Century ◽  
Political Thought ◽  
Modern Society ◽  
The State ◽  
Radical Politics ◽  
History Plays ◽  
Contemporary Theatre ◽  
Caryl Churchill ◽  
And Gender

This is the first of three chapters which focus, in their different ways, on the writing of history in contemporary theatre. This chapter concentrates on two ‘history’ plays written by Caryl Churchill during the 1970s; Light Shining in Buckinghamshire and Vinegar Tom. Churchill emerged as one of the most influential voices in radical British theatre during the closing decades of the last century. Both plays were set in the mid-seventeenth-century, but were written to resonate with themes familiar in modern legal and political thought. The title of the first play is taken from a Leveller tract published in the second part of the 1640s. Churchill uses it to explore the state of radical politics in later twentieth-century Britain. The second play, Vinegar Tom, is a contribution to a distinctive sub-genre of ‘witchcraft’ plays, which use the ‘crime’ of witchcraft as a vehicle for revisiting the relation of law and gender in modern society.

Jean Sibelius's Violin Concerto

2020 ◽  
Author(s):  
Tina K. Ramnarine
Keyword(s):  
Twentieth Century ◽  
Historical Context ◽  
New Paradigm ◽  
Recording Technology ◽  
Violin Concerto ◽  
And Gender ◽  
The Russian Empire ◽  
Violin Playing ◽  
Political Figure ◽  
Early Training

This book highlights the unique insights that Jean Sibelius’s Violin Concerto in D Minor (op. 47) offers into the composer’s musical imagination, violin virtuosity, and connections between violin-playing traditions. It discusses the concerto’s cultural contexts, performers who are connected with its early history, and recordings of the work. Beginning with Sibelius’s early training as a violinist and his aspirations to be a virtuoso player, the book traces the composition of the concerto at a dramatic political moment in Finnish history. This concerto was composed when Finland, as an autonomous Grand Duchy within the Russian Empire, was going through a period of intense struggle for self-determination and protest against Russian imperial policies. Taking the concerto’s historical context into consideration leads to a new paradigm of the twentieth-century virtuoso as a political figure, which replaces nineteenth-century representations of the virtuoso as a magical figure. The book explores this paradigm by analyzing twentieth-century violin virtuosity in terms of labor, recording technology, and gender politics, especially the new possibilities for women aiming to develop musical careers. Ultimately, the book moves away from the compositional context of the concerto and a reading of the virtuoso as a political figure to reveal how Sibelius’s musical imagination prompts thinking about the long ecological histories of musical transmission and virtuosity.

Sign in / Sign up

Export Citation Format

Share Document