Colouring the Claddagh: A Distorted View?

Costume ◽  
2014 ◽  
Vol 48 (2) ◽  
pp. 213-235 ◽  
Author(s):  
Cally Blackman
Keyword(s):  
Twentieth Century ◽  
Mutual Understanding ◽  
Ordinary People ◽  
Lumiere Brothers ◽  
Western Ireland ◽  
Folk Dress ◽  
Selection Of

This article examines the dress worn in a selection of Marguerite Mespoulet’s autochromes taken of the inhabitants of the Claddagh and in the vicinity of Galway City, western Ireland in 1913. They belong to the Archives de la Planète, an ambitious project launched by French financier Albert Kahn in 1908 to record the culture of ordinary people in fifty countries in order to promote peace through mutual understanding. The Lumière brothers’ autochrome was the first viable photographic process to reproduce authentic colours, unmitigated by intervention or manipulation, and was used for commercial and private purposes between 1907 and the early 1930s. Mespoulet’s images are thought to be the first colour photographs ever taken in Ireland, and so are invaluable records of the folk dress of a region where the last vestiges of Gaelic culture survived into the twentieth century. Along with her diary notes, they provide a platform from which to explore the slippery nexus between myth and reality, and to question the veracity of some commonly held assumptions about Irish folk dress.

Veiling Esther, Unveiling Her Story

2018 ◽  
Author(s):  
Adam J. Silverstein
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Case Studies ◽  
Muslim World ◽  
Historical Narratives ◽  
Modern Times ◽  
Religious Background ◽  
Literary Context ◽  
Shed Light ◽  
Selection Of

This book examines the ways in which the biblical book of Esther was read, understood, and used in Muslim lands, from ancient to modern times. It zeroes-in on a selection of case studies, covering works from various periods and regions of the Muslim world, including the Qur’an, premodern historical chronicles and literary works, the writings of a nineteenth-century Shia feminist, a twentieth-century Iranian dictionary, and others. These case studies demonstrate that Muslim sources contain valuable materials on Esther, which shed light both on the Esther story itself and on the Muslim peoples and cultures that received it. The book argues that Muslim sources preserve important, pre-Islamic materials on Esther that have not survived elsewhere, some of which offer answers to ancient questions about Esther, such as the meaning of Haman’s epithet in the Greek versions of the story, the reason why Mordecai refused to prostrate himself before Haman, and the literary context of the “plot of the eunuchs” to kill the Persian king. Furthermore, throughout the book we will see how each author’s cultural and religious background influenced his or her understanding and retelling of the Esther story: In particular, it will be shown that Persian Muslims (and Jews) were often forced to reconcile or choose between the conflicting historical narratives provided by their religious and cultural heritages respectively.

The Yellow Wall-Paper and Other Stories

2009 ◽  
Author(s):  
Charlotte Perkins Gilman
Keyword(s):  
Twentieth Century ◽  
Short Fiction ◽  
Social Problems ◽  
Charlotte Perkins Gilman ◽  
Early Twentieth Century ◽  
Selection Of

Charlotte Perkins Gilman was America's leading feminist intellectual of the early twentieth century. The Yellow Wall-Paper and Other Stories makes available the fullest selection of her short fiction ever printed. In addition to her pioneering masterpiece, ‘The Yellow Wall-Paper’ (1890), which draws on her own experience of depression and insanity, this edition features her Impress ‘story studies’, works in the manner of writers such as James, Twain, and Kipling. These stories, together with other fiction from her neglected California period (1890-5), throw new light on Gilman as a practitioner of the art of fiction. In her Forerunner stories she repeatedly explores the situation of ‘the woman of fifty’ and inspires reform by imagining workable solutions to a range of personal and social problems.

A Polanyian rationale for a liberal arts core curriculum

2021 ◽  
pp. 147787852199623
Author(s):  
Jon Fennell ◽  
Timothy L. Simpson
Keyword(s):  
Twentieth Century ◽  
Subject Matter ◽  
Liberal Arts ◽  
Core Curriculum ◽  
Moral Imagination ◽  
Philosophy Of Education ◽  
Michael Polanyi ◽  
Character Formation ◽  
Selection Of

What would we have the school teach? To what end? In the name of democracy, and building on the pioneering epistemology of Michael Polanyi, Harry S. Broudy, a leading voice in philosophy of education during the twentieth century, calls for a liberal arts core curriculum for all. The envisioned product of such schooling is a certain sort of person. Anticipating the predictable relativistic challenge so much on display in our own time, Broudy justifies the selection of subject matter (and thus the envisioned character formation and cultivation of moral imagination) by reference to the authority of experts in the disciplines. This response fails to fully repel the assault, thereby revealing the need for a dimension of Polanyi’s thought whose significance exceeds even that of the epistemology that Broudy so effectively invokes.

Americanization and Beika

2016 ◽  
Author(s):  
Yuko Matsumoto
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Mutual Understanding ◽  
World War ◽  
Full Membership ◽  
Japanese Immigrants ◽  
The Difference ◽  
Definition Of ◽  
Gendered Stereotypes ◽  
The U.S

The Americanization movement in the early twentieth century tried to redefine the qualifications for full membership within the nation. In the same period, the anti-Asian movement flourished. Responding actively to the discourses of anti-Japanese (and Asian) movements, Japanese immigrants tried to prove their eligibility for full membership in the U.S. nation by following their own interpretation of Americanization, or Beika (米化‎) in Japanese. The ideas of Beika were based on idealized Japanese virtues, as well as on what was required by the Americanization movement. Even though they used the parallel terms in ideas of Beika, however, the gender discourses such as virtues of Yamatonadeshiko and the definition of family highlighted the difference between the views of Americanization and those of Beika despite their similar intention. This gap in perception might have reinforced the racialized and gendered stereotypes on both sides and hindered mutual understanding before World War II.

For an Eco-Archive

2019 ◽  
pp. 29-68
Author(s):  
John Patrick Walsh
Keyword(s):  
Twentieth Century ◽  
Literary History ◽  
Literary Representations ◽  
The Novel ◽  
Haitian Literature ◽  
Boat People ◽  
History Of ◽  
Selection Of

This chapter continues to build the conceptual and historical frame of the eco-archive. It argues that contemporary Haitian literature records the transformation of the environment and accumulates and inscribes overlapping temporalities of past and present, like an archive. The first part reviews a range of Caribbean and Haitian thought on the environment, broadly understood, and considers key moments of Haitian literary history of the twentieth century. Earlier forms and paths of migration and refuge, from the sugar migration up to the journeys of “boat people,” inform and historicize literary representations of the earthquake and its aftermath. The chapter then carries out close readings of a selection of René Philoctète’s poetry and his novel, Le peuple des terres mêlées, a text that depicts the “Parsley Massacre” of 1937. It draws out Philoctète’s eco-archival writing and contends that the novel foregrounds the environmental ethos of the border in opposition to Trujillo’s genocidal nationalism.

From Home to Hospital

2021 ◽  
pp. 23-43
Author(s):  
Agnes Arnold-Forster
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Lived Experience ◽  
Cancer Patients ◽  
Early Nineteenth Century ◽  
Patient Voice ◽  
Middlesex Hospital ◽  
The Senses ◽  
Selection Of

This chapter explores the senses and emotions that attended living with and dying from cancer in the early nineteenth century. The archives of The Middlesex Hospital consist of registers of cancer patients from 1792 through to the twentieth century, and a potted selection of casebooks. This chapter, therefore, tells the stories of sixty patients from 1805 to 1836. From these case notes, flesh and blood can be added to the lived experience of cancer and go some way towards recovering the patient voice. We can follow in their footsteps from home to hospital, and in multiple literal and metaphorical ways appreciate the distances they travelled in their ‘cancer journeys’.

Introduction to Core Texts of the Sŏn Approach (Sŏnmun ch’waryo禪門撮要‎)

2020 ◽  
pp. 1-36
Keyword(s):  
Twentieth Century ◽  
Early Twentieth Century ◽  
Look Back ◽  
Selection Of

The Introduction presents the early twentieth-century compendium Core Texts of the Sŏn Approach, a work of Sŏn revivalism in Korea, as an attempt to look back over the intervening centuries to the Sŏn of the mid-Koryŏ period (late 1100s and 1200s) in order to compile a compact textual repository of authentic Korean Sŏn. Many modern reference works give Kyŏnghŏ Sŏngu (1849?–1912) as the compiler of this Sŏn compendium, though this attribution is by no means certain. The fifteen texts in Core Texts of the Sŏn Approach, eight by Chinese authors and seven by Korean authors, are described. This is followed by an explanation of the rationale behind the selection of five of the fifteen texts for translation. Two topics singled out for attention are the huatou Chan of Dahui Zonggao and the story of Patriarchal Master Chin’gwi and Śākyamuni Buddha.

Konstantin Stanislavsky Michael Chekhov Vsevolod Meyerhold Jacques Lecoq

2006 ◽  
Vol 47 (1) ◽  
pp. 146-150
Author(s):  
Jerri Daboo
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Historical Context ◽  
Actor Training ◽  
Konstantin Stanislavsky ◽  
Four Books ◽  
History Of ◽  
Complete Series ◽  
Performer Training ◽  
Selection Of

The Routledge Performance Practitioners series, edited by Franc Chamberlain, is a new set of introductory guides to a range of key figures in the development of twentieth-century performance practice. Each book focuses on a single practitioner, examining his or her life, historical context, key writings, and productions, and a selection of practical exercises. These concise volumes are intended to offer students an initial introduction to the practitioner and to “provide an inspiring spring-board for future study, unpacking and explaining what can initially seem daunting” (Merlin, ii). The list of practitioners in the complete series include Stanislavsky, Brecht, Boal, Lecoq, Grotowski, Anna Halprin, and Ariane Mnouchkine, thus examining a range of performance styles and practices, creating a valuable overview of the development of performer training through the twentieth and into the twenty-first centuries. Such interest in the history of specific approaches to training performers has been addressed in other volumes, such as Twentieth-Century Actor Training, edited by Alison Hodge (New York: Routledge, 2000), and Acting (Re)considered: A Theoretical and Practical Guide, edited by Phillip Zarrilli (London: Routledge 2002). Both those collections contain in-depth chapters focusing on aspects of the selected practitioners' theoretical and practical approaches to the principles and concerns in their work. Where the books in the Routledge Performance Practitioners series differ is that they offer a more general overview of the practitioner in one volume, and in addition to the historical context, they provide a set of practical exercises that can be carried out by the student or teacher, as well as by the actor or director. The books are well presented, divided into clear sections, with relevant photographs and diagrams. There are also sidebars providing definitions and further information on key figures and terms mentioned in the main text. This review covers the first four books in the series, examining the work of Konstantin Stanislavsky, Michael Chekhov, Vsevolod Meyerhold, and Jacques Lecoq.

scholarly journals ‘Something is recognised’: A liberal Protestant reflection on Erik Borgman’s cultural theology

2016 ◽  
Vol 72 (4) ◽  
Author(s):  
Rick Benjamins
Keyword(s):  
Twentieth Century ◽  
Roman Catholic ◽  
Mutual Understanding ◽  
Specific Character ◽  
Catholic Theology ◽  
Different Types ◽  
The Way

The Dutch Roman Catholic theologian Erik Borgman (1957), who developed a cultural theology, was appointed as a visiting professor at the liberal Protestant theological Mennonite Seminary in Amsterdam. In this article, his progressive Roman Catholic theology is compared to a liberal Protestant approach. The historical backgrounds of these different types of theology are expounded, all the way back to Aquinas and Scotus, in order to clarify their specific character for the sake of a better mutual understanding. Next, the convergence of these two types of theology in the twentieth century is explained with reference to the philosophy of Heidegger. Finally, the difficulties posed by postmodern philosophies to both a progressive Roman Catholic theology and a liberal Protestant theology are shown. It is asserted that both types of theology claim that the insights of their particular tradition can be relevant beyond this tradition to modern and postmodern humans.

Representing the Nation: Restoration Comedies on the Early Twentieth-Century London Stage

1995 ◽  
Vol 36 (2) ◽  
pp. 37-61 ◽  
Author(s):  
Deborah Kaplan
Keyword(s):  
Twentieth Century ◽  
John Dryden ◽  
Small Cluster ◽  
Performance History ◽  
William Wycherley ◽  
Early Twentieth Century ◽  
History Of ◽  
London Stage ◽  
Selection Of

The first third of the twentieth century was the most important period in the performance history of Restoration comedies—with the exception of the years 1660–1710, when they were originally written and performed. Sixteen of the plays were presented in early twentieth-century London, six in at least two different productions. Post-Carolean works by William Congreve, George Farquhar, and John Vanbrugh held the stage through the war years, but, beginning in 1920, earlier comedies by John Dryden, William Wycherley, and George Villiers entered the repertoire of performed plays. This represents a limited selection of Restoration playwrights and plays, to be sure, but this relatively small cluster of productions takes on large significance when we situate it in the context of the comedies' entire performance careers.

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