Landscapes of Reform

Author(s):  
Benjamin Heber Johnson

This chapter illustrates how naturalist Enos Mills' utopian vision embodied many of the elements of conservation in the early twentieth century. His sensibility reflected a broad cultural and political program that sought to address what he and many others understood as an environmental crisis. Mills thought that the scientific management of resources and lands would foster both wealth and beauty in places where they already resided and in newly rehabilitated landscapes alike. His mention of the prosperous farms made possible by well-tended forests promised the continuation of economic opportunity and independence for a large portion of the population. Mills' optimism showed forth in the generally utopian cast of his remarks, but also in the confidence he had that his diverse audiences could all find a reason to join his crusade for conservation.

Author(s):  
Elizabeth Esch ◽  
David Roediger

Elizabeth Esch and David Roediger highlight the ways employers and their allies used racism to divide the working classes in the late nineteenth and early twentieth centuries. Such racist practices began under slavery, and continued well into the early twentieth century as they constructed hierarchical workplaces which they deemed as natural; unions and solidarity in their estimation subverted the natural order. They call this practice “race management.” Employers seeking control over the workforce benefited from racism.


2018 ◽  
Vol 24 (4) ◽  
Author(s):  
Allison Wente

By the early twentieth century the machine aesthetic was a well-established and dominant interest. While this aesthetic has been examined in art and in literature, the representation of industrial labor practices and the role of the machine in musical compositions remain largely unexplored. In this article, I use labor theory to frame a discussion of a musical topic of the mechanical in various musical examples from the United States and Europe in the 1910s, 20s, and 30s. Each example imitates, showcases, or features the sounds of the machine, and illuminates the ways in which industrialized labor influenced music. I organize the machine sounds into three categories: music written to sound like or imitate the machine, music written to highlight the skills of virtuoso performers while also showcasing what the machine can do, and music written specifically for machines. These categories encompass a wide variety of performing bodies, audiences, and spaces, evidencing the ubiquitous presence of the machine aesthetic in early twentieth-century music culture. As the discussion of the examples in each part will show, the prevalence of machine sounds in music indicates the widespread influence of industrialization and its culturally dominant ideology, Frederick Winslow Taylor’s system of scientific management.


Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.


2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.


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