Genre, Ethnoracial Alterity, and the Genesis of jazz manouche

2019 ◽  
Vol 72 (3) ◽  
pp. 665-718
Author(s):  
Siv B. Lie
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Historical Development ◽  
Community Practice ◽  
Archival Research ◽  
National Belonging ◽  
Ethnoracial Identity ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
Django Reinhardt

Based on the music of legendary guitarist Django Reinhardt, jazz manouche is a popular genre that emerged during the late twentieth century. This article examines the historical development of jazz manouche in relation to ideologies about ethnoracial identity in France. Jazz manouche is strongly associated with French Manouches, the subgroup of Romanies (“Gypsies”) to which Reinhardt belonged. In the decades following Reinhardt's death in 1953, some Manouches adopted his music as a community practice. Simultaneously, critics, promoters, and activists extolled the putative ethnoracial character of this music, giving rise to the “jazz manouche” label as a cornerstone of both socially conscious and profit-generating strategies. Drawing on analysis of published criticism, archival research, and interviews, I argue that ethnoracial and generic categories can develop symbiotically, each informing and reflecting ideologies about cultural identity and its sonic expressions. Jazz manouche grew out of essentializing notions about Manouche identity, while Manouches have been racialized through reductive narratives about jazz manouche. In this case, an investigation of genre formation can inform understandings of ethnoracial identity and national belonging.

A Raid on the Inarticulate

2019 ◽  
pp. 28-45
Author(s):  
Jeanne Gaakeer
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Historical Development ◽  
Eleventh Century ◽  
Legal Systems ◽  
Late Twentieth ◽  
The Law ◽  
Late Twentieth Century

Chapter 2 offers an overview of the historical development of the language of law from Euripides to Herder and into the twentieth century, not out of nostalgia to the halcyon days of the unity of law and the humanities, but to show jurists what brought them where they are now. It also provides an overview of the development of the process of differentiation of law, i.e. from the unity brought about by the rediscovery of the Corpus Iuris Civilis in the eleventh century to the diversity occasioned by the rise of national legal systems culminating in the nineteenth century, and from law as an autonomous discipline to the interdisciplinarity of the “Law and…” movements from the late twentieth century onwards.

Translation in the Kurdish magazine Hawar

2019 ◽  
Vol 14 (2) ◽  
pp. 283-305 ◽  
Author(s):  
Bilal Çelik
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Cultural Aspects ◽  
Late Twentieth ◽  
Late Twentieth Century

Abstract This article explores the role of translation in forming and legitimizing a Kurdish cultural identity through diverse renderings in the Kurdish magazine Hawar launched by Celadet Alî Bedirxan between 1932 and 1943 in Damascus. It also sheds light on the tense relationship between Kurdish and Turkish cultures, which also impacted the translational and cultural aspects of the periodical. This relation has relatively improved from the late twentieth century onwards. My argument is that the composition of Hawar as a whole and translations in the periodical aimed to form a Kurdish cultural identity and legitimize it both for the Kurds and worldwide audience in the historical conditions of the 1930s and 1940s. This article will point out the pivotal position of translation in the composition of Hawar and the role played by Celadet Alî Bedirxan as an agent in this undertaking.

Narratives of Progress and Tragedy in

2014 ◽  
Author(s):  
Paul Filmer
Keyword(s):  
Twentieth Century ◽  
Cultural Identity ◽  
Binary Structure ◽  
The Enlightenment ◽  
Modes Of Representation ◽  
American Tradition ◽  
Late Twentieth ◽  
American Society ◽  
Late Twentieth Century

When it was first produced in 1976,Pacific Overturesattracted praise and opprobrium in almost equal measure. It was characterized by critics as both the supreme intellectual, as well as musical theatrical achievement of the Sondheim–Prince collaborations, and as the most cynical betrayal of the authentic vernacular American tradition of the musical. At a number of levels, both formal and substantive, it is a reflexive exploration of the tension between the national and global conditions of late twentieth-century American cultural identity and ambitions and their relation to the legacy of the Enlightenment origins of American society. The two levels discussed in detail are those of the relations between and modes of representation of the principal characters, and the processes of transition between traditional and modern societies. The chapter argues that the binary structure of the theatrical organization ofPacific Overturesin two sequential parts raises issues of the inevitability of the inversion of progress into tragedy.

The Rise and Fall of British Girls’ Comics

2019 ◽  
pp. 14-34
Author(s):  
Julia Round
Keyword(s):  
Twentieth Century ◽  
Cultural Context ◽  
Archival Research ◽  
Intense Competition ◽  
Late Twentieth ◽  
Creative Talent ◽  
Late Twentieth Century

This chapter provides context and background to the study. It tells the story of Misty’s creation and situates it within the wider picture of British girls’ comics in the late twentieth century. It reviews and summarizes the critical work published on girls’ comics to date: noting the denigration and suspicion that surrounds the genre, and situating this against a newer wave of scholarship that reclaims girls’ comics as popular, active literature. The chapter draws on archival research, exclusive interviews, and analysis of predecessor titles to give a historical timeline of British girls’ comics publishing and the competition between DC Thomson and Fleetway/IPC and tell the story of how Misty came to be. It explains the commercial practices of IPC and argues that the rise and fall of the British girls’ comics industry demonstrates that mixing creativity and commerce can produce intense competition that drives innovation and experimentation, but if the industry does not adapt to its changing cultural context or modify its fiscal expectations this can hamstring its creative talent and undermine its readership.

Nine Centuries of Man

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Diverse Range ◽  
Gender Expectations ◽  
Court Records ◽  
The Past ◽  
Wide Range ◽  
Police Reports ◽  
Late Twentieth ◽  
Scottish History ◽  
Late Twentieth Century

What did it mean to be a man in Scotland over the past nine centuries? Scotland, with its stereotypes of the kilted warrior and the industrial ‘hard man’, has long been characterised in masculine terms, but there has been little historical exploration of masculinity in a wider context. This interdisciplinary collection examines a diverse range of the multiple and changing forms of masculinities from the late eleventh to the late twentieth century, exploring the ways in which Scottish society through the ages defined expectations for men and their behaviour. How men reacted to those expectations is examined through sources such as documentary materials, medieval seals, romances, poetry, begging letters, police reports and court records, charity records, oral histories and personal correspondence. Focusing upon the wide range of activities and roles undertaken by men – work, fatherhood and play, violence and war, sex and commerce – the book also illustrates the range of masculinities that affected or were internalised by men. Together, the chapters illustrate some of the ways Scotland’s gender expectations have changed over the centuries and how, more generally, masculinities have informed the path of Scottish history

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

A New Denominational Historiography?

1995 ◽  
Vol 5 (2) ◽  
pp. 249-263
Author(s):  
John F. Wilson
Keyword(s):  
Twentieth Century ◽  
Recent Analysis ◽  
General Factor ◽  
Religious Organization ◽  
Religious Institution ◽  
Large Numbers ◽  
The Status ◽  
Late Twentieth ◽  
American Society ◽  
Late Twentieth Century

Over the last decade, a noteworthy number of published studies have, in one fashion or another, been defined with reference to religious denominations. This is an arresting fact, for, coincidentally, the status of religious denominations in the society has been called into question. Some formerly powerful bodies have lost membership (at least relatively speaking) and now experience reduced influence, while newer forms of religious organization(s)—e.g., parachurch groups and loosely structured movements—have flourished. The most compelling recent analysis of religion in modern American society gives relatively little attention to them. Why, then, have publications in large numbers appeared, in scale almost seeming to be correlated inversely to this trend?No single answer to this question is adequate. Surely one general factor is that historians often “work out of phase” with contemporary social change. If denominations have been displaced as a form of religious institution in society in the late twentieth century, then their prominence in earlier eras is all the more intriguing.

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