scholarly journals 11. Continuity and Reinvention

2020 ◽  
pp. 317-342
Author(s):  
Sille Kapper
Keyword(s):  
Twentieth Century ◽  
Local Community ◽  
Folk Dance ◽  
Dance Movement ◽  
Traditional Dance ◽  
Round Dance ◽  
The Relationship

Kapper (Estonia) focuses mainly on the twentieth century, basing her discussion on information from folk dance collectors and researchers connected to the folk-dance movement. She surveys round dance forms described or referred to as part of this information, and discusses the relationship between round dances and other dances in a local community, particularly if that community was known as a stronghold of traditional dance. She also refers in brief to the folk-dance movement. In this way, she includes two of the groups mentioned above: the ‘dancing crowds’ and the folk dancers, and discusses the place round dancing has within each.

scholarly journals 15. A Twenty-First Century Resurrection

2020 ◽  
pp. 417-432
Author(s):  
Tvrtko Zebec
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Folk Dance ◽  
Dance Movement ◽  
Twenty First Century

Zebek (Croatia) surveys and contextualises the place of round dances, and particularly the Polka, in the twentieth-century Croatia. He shows how the folk-dance movement largely ignored or even rejected the round dances as new and foreign. He then portrays the revival of a ‘shaking’ kind of Polka that has a history in the region, but only rose in popularity as late as the twenty-first century. The peculiar aspect of the revival is that it seems to have arisen independently of the folk-dance movement, among the ‘dancing crowds’.

On Metaphysics and the Political: A Polemics of Reading Baudelaire in the 1930s

2019 ◽  
Vol 58 (2) ◽  
pp. 249-259
Author(s):  
Joseph Acquisto
Keyword(s):  
Twentieth Century ◽  
Political Crisis ◽  
The Political ◽  
Modern Poetry ◽  
Progressive Politics ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
Insight Into

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.

Poetic Trespass

2014 ◽  
Author(s):  
Lital Levy
Keyword(s):  
Twentieth Century ◽  
Visual Art ◽  
Prose Poetry ◽  
Old World ◽  
History And Literature ◽  
Political Boundaries ◽  
Depth Study ◽  
Emile Habiby ◽  
The Relationship ◽  
The Way

A Palestinian-Israeli poet declares a new state whose language, “Homelandic,” is a combination of Arabic and Hebrew. A Jewish-Israeli author imagines a “language plague” that infects young Hebrew speakers with old world accents, and sends the narrator in search of his Arabic heritage. This book brings together such startling visions to offer the first in-depth study of the relationship between Hebrew and Arabic in the literature and culture of Israel/Palestine. More than that, the book presents a captivating portrait of the literary imagination's power to transgress political boundaries and transform ideas about language and belonging. Blending history and literature, the book traces the interwoven life of Arabic and Hebrew in Israel/Palestine from the turn of the twentieth century to the present, exposing the two languages' intimate entanglements in contemporary works of prose, poetry, film, and visual art by both Palestinian and Jewish citizens of Israel. In a context where intense political and social pressures work to identify Jews with Hebrew and Palestinians with Arabic, the book finds writers who have boldly crossed over this divide to create literature in the language of their “other,” as well as writers who bring the two languages into dialogue to rewrite them from within. Exploring such acts of poetic trespass, the book introduces new readings of canonical and lesser-known authors, including Emile Habiby, Hayyim Nahman Bialik, Anton Shammas, Saul Tchernichowsky, Samir Naqqash, Ronit Matalon, Salman Masalha, A. B. Yehoshua, and Almog Behar. By revealing uncommon visions of what it means to write in Arabic and Hebrew, the book will change the way we understand literature and culture in the shadow of the Israeli–Palestinian conflict.

The Gallic Singularity and the Royal Mistress

2020 ◽  
Vol 38 (1) ◽  
pp. 44-66
Author(s):  
Christine Adams
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Soft Power ◽  
Political Power ◽  
The Political ◽  
Marie Antoinette ◽  
Louis Xvi ◽  
Relationship Of ◽  
The Relationship ◽  
Political Realm

The relationship of the French king and royal mistress, complementary but unequal, embodied the Gallic singularity; the royal mistress exercised a civilizing manner and the soft power of women on the king’s behalf. However, both her contemporaries and nineteenth- and early twentieth-century historians were uncomfortable with the mistress’s political power. Furthermore, paradoxical attitudes about French womanhood have led to analyses of her role that are often contradictory. Royal mistresses have simultaneously been celebrated for their civilizing effect in the realm of culture, chided for their frivolous expenditures on clothing and jewelry, and excoriated for their dangerous meddling in politics. Their increasing visibility in the political realm by the eighteenth century led many to blame Louis XV’s mistresses—along with Queen Marie-Antoinette, who exercised a similar influence over her husband, Louis XVI—for the degradation and eventual fall of the monarchy. This article reexamines the historiography of the royal mistress.

Movement Analysis of Philippine Folk Dance Itik-itik

2019 ◽  
Vol 2 (1) ◽  
pp. 56-63
Author(s):  
Pangilinan Math C ◽  
Fontanilla Lyndo V ◽  
Pineda Israel C ◽  
Rocelle E Agtang ◽  
Soriano Ria M ◽  
...  
Keyword(s):  
Movement Analysis ◽  
Adductor Muscle ◽  
Mechanical Analysis ◽  
Muscle Group ◽  
Upper Body ◽  
Folk Dance ◽  
Dance Movement ◽  
Dance Teacher ◽  
Hip Muscle ◽  
Dance Movements

The purpose of the study was to describe and analyze the dance movements of the Philippine folk dance Itik-itik. The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, similar to the study of Martin and Miller, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. Results revealed that the prominent dance steps in the Philippine local dance Itik-itik are the (1) running, (2) cross step, slide close, slide close step, (3) heel, close-ball, close arm, (4) step, slide-close, slide, (5) arms extension/flexion, and (6) flapping of the arms. The joints involved are the shoulder and hip muscle which are ball and socket type of joints; and elbow, knee and ankle which are hinge joints. The major muscles involved in the dance for the lower body include the quadriceps, hamstring muscle group, adductor muscle group, calves and gluts. While for the upper body muscles involved are the pectoralis major, latissimus dorsi, deltoid, trapezius, biceps, and triceps muscles. The type of lever used in performing the dance comprise majority of 1st class and 3rd class levers. By knowing the muscles involved in the dance the dance teacher may be able to devise activities to gradually prepare the prime mover muscles before the actual execution for injury prevention. Thus, the movements in the dance may improve the health and skill related fitness of the performers.

Movement Analysis of Philippine Folk Dance Tinikling

2019 ◽  
Vol 2 (1) ◽  
pp. 30-34
Author(s):  
Sanchez Jorielle C ◽  
Manlutac Crisalyn T ◽  
Salas Joven V ◽  
Soriano Marilou R ◽  
Santos Michael E ◽  
...  
Keyword(s):  
Movement Analysis ◽  
Adductor Muscle ◽  
Mechanical Analysis ◽  
The Philippines ◽  
Folk Dance ◽  
Dance Movement ◽  
Cardiovascular Endurance ◽  
Hip Muscle ◽  
Health Related ◽  
Muscle Groups

The purpose of the study was to describe the dance movements of the folk dance Tinikling which is the most popular traditional dance and former national dance of the Philippines.  The researchers adopted the movement analysis method similar to that of Mackenzie that involves the (1) description of the actual movements which occur at the joints involved; (2) the plane in which the movement occurs; and (3) the muscles producing the movement (agonist & antagonist). In addition, the researchers also had done a mechanical analysis on the lever type involved in the execution of the dance movement in terms of force, axis, and resistance. The prominent dance steps in the Philippine local dance Tinikling are the (1) running, (2) tinikling steps, (3) diagonal step, and (4) straddle jump with a turn step. The joints involved are: hip muscle which is ball and socket type of joint; and knee and ankle which are hinge joints. The major muscles involved in the dance include mostly the lower body muscle groups such as the quadriceps, hamstring, gluts, adductor muscle group, and calves. The type of lever used in performing the dance comprise majority of 1st, 2nd and 3rd class levers. Thus, the Tinikling is a viable dance which could improve the health related fitness of the performers in terms of muscular strength, muscular endurance, cardiovascular endurance and flexibility. Also, the dance could improve skill-related fitness such as power, agility, balance and coordination.

The Afterlife of Art and Objects

2018 ◽  
Author(s):  
James Tweedie
Keyword(s):  
Twentieth Century ◽  
Historical Narratives ◽  
Still Life ◽  
Art Cinema ◽  
Spanish Baroque ◽  
Late Twentieth ◽  
Moving Pictures ◽  
Tableau Vivant ◽  
The Relationship ◽  
Late Twentieth Century

Like the tableau vivant, the cinematic still life experienced a stunning revival and reinvention in the late twentieth century. In contrast to the stereotypically postmodern overload of images, the still life in film initiates a moment of repose and contemplation within a medium more often defined by the forward rush of moving pictures. It also involves a profound meditation on the relationship between images and objects consistent with practices as diverse as the Spanish baroque still life and the Surrealist variation on the genre. With the work of Terence Davies and Alain Cavalier’s Thérèse (1986) as its primary touchstones, this chapter situates this renewed interest in the cinematic still life within the context of both the late twentieth-century cinema of painters and a socially oriented art cinema that focuses on marginal people and overlooked objects rather than the hegemonic historical narratives also undergoing a revival at the time.

The Documentary Imagination in Twentieth-Century French Literature

2020 ◽  
Author(s):  
Alison James
Keyword(s):  
Twentieth Century ◽  
French Literature ◽  
Literary Work ◽  
Visual Media ◽  
Visual Evidence ◽  
Current Events ◽  
Twentieth Century French Literature ◽  
A Site ◽  
Relationship Of ◽  
The Relationship

This book studies the documentary impulse that plays a central role in twentieth-century French literature. Focusing on nonfiction narratives, it analyzes the use of documents—pieces of textual or visual evidence incorporated into the literary work to relay and interrogate reality. It traces the emergence of an enduring concern with factual reference in texts that engage with current events or the historical archive. Writers idealize the document as a fragment of raw reality, but also reveal its constructed and mediated nature and integrate it as a voice within a larger composition. This ambivalent documentary imagination, present in works by Gide, Breton, Aragon, Yourcenar, Duras, and Modiano (among others), shapes the relationship of literature to visual media, testimonial discourses, and self-representation. Far from turning away from realism in the twentieth century, French literature often turns to the document as a site of both modernist experiment and engagement with the world.

The Ancient Prehistory of Modern Adults

2018 ◽  
Author(s):  
Sheila Murnaghan ◽  
Deborah H. Roberts
Keyword(s):  
Twentieth Century ◽  
James Joyce ◽  
Virginia Woolf ◽  
Hilda Doolittle ◽  
Freudian Psychoanalysis ◽  
The Relationship

This chapter considers some of the ways in which the association between childhood and antiquity has been conceptualized and elaborated in works for adults, particularly in the early decades of the twentieth century. Memories of formative encounters by the archaeologist Heinrich Schliemann and the poet and novelist H.D. (Hilda Doolittle) set the stage for a discussion of Freudian psychoanalysis, the scholarly theories of Jane Harrison, and the works of James Joyce, H.D., Mary Butts, Naomi Mitchison, and Virginia Woolf. The practice of archaeology and the knowledge of Greek emerge as key elements in distinctly gendered visions of the relationship between modern lives and the classical past.

Fixing Improvisation

2014 ◽  
Author(s):  
Anthea Kraut
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Intellectual Property ◽  
Case Studies ◽  
Copyright Law ◽  
Property Law ◽  
Intellectual Property Law ◽  
Tap Dance ◽  
American Vernacular ◽  
The Relationship

This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.

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