When Buffalo Bill crossed the ocean: Native American scenes in early twentieth century European culture

2012 ◽  
Vol 31 (3) ◽  
pp. 187-203 ◽  
Author(s):  
Irene Lottini
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
Early Twentieth Century ◽  
European Culture ◽  
Buffalo Bill

’Garde ici et ’garde lá-bas

2017 ◽  
Author(s):  
Jared Snyder
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Native American ◽  
Music Industry ◽  
Dance Music ◽  
The Core ◽  
Early Twentieth Century ◽  
History Of

This chapter explores the history of the Creole accordion. Black Creoles in Louisiana have created their own, distinctive accordion music adapted from French, Native American, and African cultures. While Creole musicians in the early twentieth century were often hired for Cajun dances, where they played Cajun dance music, at their own gatherings they played a uniquely Creole repertoire that drew from the African American blues—a repertoire later developed by accordionists such Clifton Chenier and Boozoo Chavis. Zydeco, as this music eventually was labeled, has become a symbol of Louisiana Creole culture. It is argued that despite the pressure on modern zydeco bands to adapt to the demands of the music industry, the traditional accordion and rubboard remain the core instruments, and zydeco accordionists keep playing in a distinctively Creole style.

Toward an Indigenous Model of Native American Ministry within the Assemblies of God

Pneuma ◽  
2009 ◽  
Vol 31 (1) ◽  
pp. 85-104
Author(s):  
Joseph Saggio
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
Native Americans ◽  
Early Development ◽  
Final Section ◽  
Assemblies Of God ◽  
Indigenous Leadership ◽  
Early Twentieth Century ◽  
Fait Accompli

AbstractThis article chronicles the historical missiological development of the Assemblies of God USA with regard to Native American ministry from its early roots characterized primarily by a missions-driven model toward the emergence of a more indigenous-driven model that first became evident in the late 1940s. Although the missions-driven model is far from being a fait accompli, the vision of far-sighted missionaries and indigenous leadership has brought enormous progress since the early twentieth century. This article examines the early development of indigenous ministry from 1950 to 1987 and then reviews developments from 1988 up to the present time. The final section of the article focuses specifically on ongoing challenges to developing indigenous ministry among Native Americans.

scholarly journals BOHDAN LEPKY`S LITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNALLITERARY CRITICISM IN “SLOVANSKÝ PŘEHLED” JOURNAL

2019 ◽  
pp. 162-174
Author(s):  
Vasyl BUDNYI ◽  
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Literary Critic ◽  
Critical Writing ◽  
Artistic Value ◽  
Cultural Concepts ◽  
Early Twentieth Century ◽  
European Culture ◽  
Literary Process ◽  
Group B

Abstract Background: A famous literary critic and writer, representative of the “Moloda Muza” group, B. Lepky was published in numerous Ukrainian and foreign journals in the early twentieth century. Today, his cooperation with Polish and German editions has been partially explored, but the Czech direction remains almost unclear. There are only individual references to B. Lepky's cultural publications in the “Slovanský přehled” journal in the works of V. Doroshenko, V. Lev, B. Rubchak. Purpose: The purpose of the study is to analyze the interpretative bases of B. Lepky's publications in “Slovanský přehled”, namely, five annual reviews of Ukrainian literature (1901, 1902, 1903, 1905, 1906) and three cultural pieces of knowledge: about the composer M. Lysenko, about the translation of short stories by M. Kotsiubynsky into Polish, and the scientific works of M. Hrushevsky, B. Barvinsky and V. Shchurat. Results: B. Lepky followed I. Franko in editing “Slovanský přehled” journal. I. Franko prepared the ground for the Czechs to familiarize them with Ukrainian literature. In a series of annual reviews, B. Lepky considered Ukrainian literature in the pan-European context, translating the realities of national culture into the language of universal cultural concepts. Not contradicting realism and modernism, the critic appraised the high artistic value of the works by Lesya Ukrainka, V. Stefanyk, M. Kotsyubynsky, O. Kobylyanska, which were marked by modern stylistic trends. Trying to convey the original content to the foreign reader, B. Lepky approached his critical speech to the poetic one, painting it with impressionistic strokes and symbolic imagery. The author concluded that the importance of B. Lepky’s Czech publications was important for understanding the ways in which Ukrainian writing was modernized and contextualized in Slavic and pan-European culture in the early twentieth century. Key words: Modernism period, literary process, critical writing, literary review, review, contextualization, impressionism, symbolism.

scholarly journals Nielsen's Symphonic Waves. Energetics, the Sinfonia Espansiva, and German Music Theory

2009 ◽  
Vol 4 ◽  
Author(s):  
Daniel Grimley
Keyword(s):  
Twentieth Century ◽  
Music Theory ◽  
Gustav Mahler ◽  
The Third ◽  
Northern European ◽  
Early Twentieth Century ◽  
European Culture ◽  
Twentieth Century Music ◽  
Musical Motion ◽  
Wave Forms

The first published analysis of Carl Nielsen’s music appeared only in the final year of the composer’s life. Povl Hamburger’s article, ‘Formproblemet i vor tids musik med analyse af Carl Nielsen’s Sinfonia Espansiva (1 Sats)’ ( Dansk Musiktidsskrift 5/6 (May 1931)), was greeted sceptically by Nielsen himself. Nevertheless, Hamburger’s analysis suggests some interesting parallels with trends in contemporary German music theory, particularly the work of Hans Mersmann. Re-reading the Sinfonia Espansiva in the light of such work offers insights into Nielsen’s approach to symphonic structure, particularly his employment of energetic wave forms, and problematises his approach to the genre. Such wave forms, I argue, are fundamental to Nielsen’s understanding of symphonic design, and can be fruitfully applied to earlier works, such as the first movement of the Second Symphony, as well as informing the tone and design of later symphonies such as the Fourth (‘The inextinguishable’). Nielsen’s idea of the symphony is underpinned by a powerfully organicist view of musical motion, one which is in tune with many of the vitalist currents in northern European culture at the start of the century. But in the Third Symphony, Nielsen also strikes a more complex, modernist note. Through comparison with the symphonic music of his contemporaries, notably Gustav Mahler and Edward Elgar, Nielsen emerges characteristically as a critical, but ultimately affirmative voice in early twentieth-century music.

scholarly journals What is the “West”? Nationalism, Cosmopolitanism, and the “West” in Early Twentieth-Century Serbian Culture

2010 ◽  
pp. 49
Author(s):  
Zoran Milutinovic
Keyword(s):  
Twentieth Century ◽  
The West ◽  
East European ◽  
Early Twentieth Century ◽  
European Culture ◽  
The First World War ◽  
The Stability ◽  
The Cold War ◽  
National Romanticism ◽  
First World

The study reinterprets the confl ict between Jovan Skerlić (1877–1914), a literary historian, social-democrat politician, staunch advocate of the Europeanization of Serbia, one of the most infl uential public intellectuals of his time, generally considered to be the “apostle of the West,” and Isidora Sekulić (1877–1958), a writer, who despite the modernist poetics of her works, is regarded as a belated exponent of national Romanticism. The interpretation of their works, focused on their respective constructions of the “West” and “Europe” on the eve of the First World War, reveals how unstable and shifting are the conceptual frames in which conventional interpretations of nationalist and “Westernizer” positions are carried out. The study argues that the stability which the “pro-” and “anti- Western” positions have in the Cold War context cannot be transferred to an analysis of early twentieth-century East European culture. Despite their clash, neither Skerlić nor Sekulić can be branded as either Westernizers or nationalists. The study aims to analyze the position occupied by both of them—in addition to many other East European intellectuals and politicians of the same period—and suggest “cosmopolitan nationalism” as its name.

The “Pencil in the Hand of the Indian”: Cross-Cultural Interactions in Natalie Curtis's The Indians' Book

2010 ◽  
Vol 9 (4) ◽  
pp. 419-449 ◽  
Author(s):  
Michelle Wick Patterson
Keyword(s):  
Twentieth Century ◽  
Native American ◽  
Social Issues ◽  
Cross Cultural ◽  
Survival Strategies ◽  
Indian People ◽  
Early Twentieth Century ◽  
Popular Representations ◽  
The Many ◽  
Cultural Interactions

Native American communities met the many challenges of the early twentieth century in ways that defy easy categories of “progressive” or “traditional.” Indian people used many different outlets, including cultural appeals to non-Indian audiences, to craft survival strategies. Natalie Curtis's The Indians' Book (1907), a collection of Native music, art, and folklore, became one of these outlets. Through an examination of the contributions made by two Native leaders, Lololomai (Hopi) and High Chief (Southern Cheyenne), this essay considers the ways in which local Native American leaders sought to shape popular representations of their tribes. Additionally, it explores how these leaders used Curtis's work to address local political and social issues in their communities. Their efforts to influence the themes of The Indians' Book represents an attempt to, as historian Frederick Hoxie terms it, “talk back to civilization.”

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