Denying History in Colonial Kenya: the Anthropology and Archeology of G.W.B. Huntingford and L.S.B. Leakey

2006 ◽  
Vol 33 ◽  
pp. 287-320 ◽  
Author(s):  
J.E.G. Sutton

Colonial attitudes and prejudices can be readily identified by every student perusing Africanist literature of the early twentieth century. More than that, one gets to recognize different slants, notably between an administrative outlook and that of white settlers (varying according to the territory), and a further contrast with that of Protestant and Catholic missionaries, not to overlook mission-educated Africans. But facile characterizing by occupation, economic interests, class, race, or even religion can misrepresent individual intellects and achievements, whether in original contributions to knowledge or in setting the direction of continuing research. In reviewing here the anthropological and archeological endeavors in the Kenya highlands during the 1920s and 1930s of George Wynn Brereton Hiintingford (1901-1978) and Louis Seymour Bazett Leakey (1903-72), both of British parentage (and sons of Anglican clerics), it is noticeable that, while each was unmistakably a product of his time and situation, neither falls perfectly into any neat category of European society in colonial Africa. Neither belonged to the administrative corps, although both took on assignments for the Kenya government on occasions, and were at hand to volunteer their wisdom about “native customs” and mentality whenever inexperienced officials, insensitive settlers or zealous missionaries encountered distrust or open protest.

1959 ◽  
Vol 15 (3) ◽  
pp. 291-295
Author(s):  
Walter V. Scholes

As American economic interests expanded in Central America in the early twentieth century, many British representatives concluded that the Foreign Office would have to devise some method to protect existing British investments against American encroachment. When Secretary of State Knox visited Central America in 1912, he and Sir Lionel E. G. Carden, the British Minister to Central America, discussed Central American affairs when they met in Guatemala on March 16. Knox could scarcely have been very sympathetic as Carden expounded the British point of view, for the Department of State believed that the greatest obstacle to the success of its policy in Central America was none other than the British Minister. As early as April, 1910, Knox had unsuccessfully tried to have Carden transferred from his post; the attempt failed because Sir Edward Grey backed up his Minister.


2012 ◽  
Author(s):  
Ilaria Caloi

The sensational discovery in the early twentieth century of the prehistoric civilisation of Crete, named Minoan after the mythical king Minos, and the contemporary birth of Modern Art in Europe has led many scholars to discern analogies between Minoan art and Art Nouveau. This work analyses the entity and significance of Minoan art in the textile productions that made the name of the artist Mariano Fortuny y Madrazo. The famous "Knossos shawls", created by Fortuny from 1906 on in his Venetian studio in Palazzo Pesaro Orfei, which has now become the Fortuny museum, feature decorative motifs taken from the decorations visible on vases and frescoes in the famous Minoan centres of Crete, such as Knossòs and Festòs, dating to the second millennium BC. Understanding his way of representing the past and the exotic – in particular the Minoan civilisation of Crete – and bringing it back to life, allows us to penetrate the expectations and the demands of European society between the 19th and the 20th centuries. The reference to a culture such as the Minoan, which precisely at the beginning of the 20th century was dubbed by the academic world as a "modern" civilisation and defined as quintessentially the first "European" civilisation, contributed to render the Knossos shawls inspired by it the very height of fashion.


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.


2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.


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