NCOBPS and APSA

2020 ◽  
Vol 1 (1) ◽  
pp. 136-140
Author(s):  
Rogers M. Smith
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Political Science ◽  
Leadership Skills ◽  
Racial Politics ◽  
First Century ◽  
Late Nineteenth Century ◽  
Half Century ◽  
Wide Range ◽  
Late Nineteenth

Political science began in the late nineteenth century as an explicitly racist discipline. Although this changed in the twentieth century, mainstream scholars then neglected racial politics and issues in America for too long. NCOBPS originated in 1969 as part of efforts of scholars of color to address these deficiencies. Throughout its history, it has done so. NCOBPS has fostered more insightful scholarship on a wide range of topics, including their racial dimensions. It has helped to develop leadership skills that have benefited the discipline as a whole. And it has nurtured an activist-scholar ethos that has helped the discipline do a better job of listening to, and benefiting, the populations it studies. The NCOBPS-APSA partnership has grown much stronger over the last half-century; it will need to be cultivated further if the discipline is to confront constructively the intellectual and political challenges it faces in the twenty-first century.

Gay Affections

2014 ◽  
Author(s):  
Gerard P. Loughlin
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
First Century ◽  
Late Nineteenth Century ◽  
Gay Identity ◽  
Same Sex ◽  
The People ◽  
History Of ◽  
Late Nineteenth ◽  
Gay Identities

This chapter considers how gay identities—and so gay affections—were formed in the course of the twentieth century, building on the late nineteenth-century invention of the ‘homosexual’. It also considers earlier construals of same-sex affections and the people who had them, the soft men and hard women of the first century and the sodomites of the eleventh. It thus sketches a history of continuities and discontinuities, of overlapping identities and emotional possibilities. The chapter resists the assumption that gay identity and experience can be reduced to anything less than the multitude of gay people, and that as Christians they have to give an account of themselves in a way that heterosexual Christians do not. The chapter warns against thinking gay identity undone in Christ.

Monasticism in Africa South of the Sahara

2020 ◽  
pp. 540-557
Author(s):  
Catherine Higgs
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Fifteenth Century ◽  
First Century ◽  
Late Nineteenth Century ◽  
Early Twenty ◽  
North Eastern ◽  
Late Nineteenth ◽  
Twenty First Century ◽  
Late Fifteenth

This chapter explores the intersections between European missionary outreach, political and commercial concerns, and the African reception and adaptation of Christianity south of the Sahara, beginning in the late fifteenth century ce and extending through the early twenty-first century. For the most part, missionaries, not monastics, spread the faith. The message from the outset was intertwined with political and commercial considerations—initially a trade in slaves, foodstuffs, and other commodities, and eventually, in the late nineteenth century, colonialism. Neither conquest nor evangelization proved formulaic or easy. In 1910, perhaps nine per cent of Africans were Christians, including those in the ancient north-eastern centres of Egypt and Ethiopia. By 2010, an estimated fifty per cent of Africans were Christians, most living south of the Sahara. Christianity has been redefined as an African faith, across a continuum that includes independent and indigenous interpretations, and, re-emerging in the twentieth century, a few Catholic monastics.

scholarly journals ‘Gand a fini par faire comme les autres’

2017 ◽  
Vol 20 (2) ◽  
pp. 74
Author(s):  
Evelien Jonckheere
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Modern Society ◽  
Late Nineteenth Century ◽  
The Public ◽  
Society Of The Spectacle ◽  
Wide Range ◽  
Vast Literature ◽  
Late Nineteenth

‘Gand a fini par faire comme les autres.’ The rise of the café-concert and variety theatre in late nineteenth-century Ghent’s ‘society of the spectacle’ Cafés-concerts and variety theatre have generally received only a cursory mention within the vast literature on the late nineteenth-century culture of spectacle in Europe’s major cities. This article uses Ghent as a case study to demonstrate that even in provincial towns, there was an abundance of spectacle available to the public during this era. Cafés-concerts and variety theatre played a particularly significant role and were closely interwoven with the spectacular urban renewal that took place in Ghent during the late nineteenth century. In addition, these forms of entertainment carried the seeds of the type of mass spectacle that would emerge in the twentieth century. Why, then, have the café-concert and variety theatre gone unexplored by academics for so long? In an attempt to answer this question, this article offers a means for identifying these two specific forms of spectacle in major urban centres and provincial towns in Belgium and abroad, thereby enabling a more thorough exploration of the phenomenon based on a wide range of sources. This, in turn, will allow the café-concert and variety theatre to emerge from obscurity and take their rightful place in the debate on the modern ‘society of the spectacle’.

Scottish Missionaries, ‘Protestant Hinduism’ and the Scottish Sense of Empire in Nineteenth- and Early Twentieth-century India

2007 ◽  
Vol 86 (2) ◽  
pp. 278-313 ◽  
Author(s):  
Philip Constable
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Western India ◽  
Early Nineteenth Century ◽  
Church Of Scotland ◽  
Free Church ◽  
Intellectual Engagement ◽  
Late Nineteenth ◽  
The Church

This article examines the Scottish missionary contribution to a Scottish sense of empire in India in the nineteenth and early twentieth centuries. Initially, the article reviews general historiographical interpretations which have in recent years been developed to explain the Scottish relationship with British imperial development in India. Subsequently the article analyses in detail the religious contributions of Scottish Presbyterian missionaries of the Church of Scotland and the Free Church Missions to a Scottish sense of empire with a focus on their interaction with Hindu socioreligious thought in nineteenth-century western India. Previous missionary historiography has tended to focus substantially on the emergence of Scottish evangelical missionary activity in India in the early nineteenth century and most notably on Alexander Duff (1806–78). Relatively little has been written on Scottish Presbyterian missions in India in the later nineteenth century, and even less on the significance of their missionary thought to a Scottish sense of Indian empire. Through an analysis of Scottish Presbyterian missionary critiques in both vernacular Marathi and English, this article outlines the orientalist engagement of Scottish Presbyterian missionary thought with late nineteenth-century popular Hinduism. In conclusion this article demonstrates how this intellectual engagement contributed to and helped define a Scottish missionary sense of empire in India.

Rethinking Mahler

2017 ◽  
Keyword(s):  
Nineteenth Century ◽  
Structural Analysis ◽  
First Century ◽  
Late Nineteenth Century ◽  
Temporal Experience ◽  
Cultural Contexts ◽  
Late Nineteenth ◽  
Twenty First Century ◽  
Literature History ◽  
Historical Past

Gustav Mahler’s anniversary years (2010–11) have provided an opportunity to rethink the composer’s position within the musical, cultural and multi-disciplinary landscapes of the twenty-first century, as well as to reassess his relationship with the historical traditions of his own time. Comprising a collection of essays by leading and emerging scholars in the field, Rethinking Mahler in part counterbalances common scholarly assumptions and preferences which predominantly configure Mahler as proto-modernist, with hitherto somewhat neglected consideration of his debt to, and his re-imagining of, the legacies of his own historical past. It reassesses his engagement both with the immediate creative and cultural present of the late nineteenth century, and with the weight of a creative and cultural past that was the inheritance of artists living and working at that time. From a variety of disciplinary perspectives the contributors pursue ideas of nostalgia, historicism and ‘pastness’ in relation to an emergent pluralist modernity and subsequent musical-cultural developments. Mahler’s relationship with music, media and ideas past, present, and future is explored in three themed sections, addressing among them issues in structural analysis; cultural contexts; aesthetics; reception; performance, genres of stage, screen and literature; history/historiography; and temporal experience.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

scholarly journals Hearing through the théâtrophone: Sonically constructed spaces and embodied listening in the late nineteenth-century French theatre

2016 ◽  
Vol 5 (1) ◽  
pp. 73-90 ◽  
Author(s):  
Melissa Van Drie
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Social Context ◽  
Late Nineteenth Century ◽  
Teenth Century ◽  
Late Nineteenth ◽  
French Theatre ◽  
Subscription Service ◽  
Theoretical Reflection ◽  
A Performance

This article presents a historical and theoretical reflection of the théâtrophone, a late nine- teenth-century telephone broadcast service that allowed users at a distance to listen in live to local theatre performances (spoken theatre, opera and musical concerts). Often cited as the first binaural experience in 1881, the théâtrophone’s much longer history as a subscription service, which operated in Paris from 1889 through the mid-1930s, is relatively unknown. This article considers what hearing through a théâtrophone meant to nineteenth- and twentieth- century users beyond its initial 1881 prototype. To hear through the théâtrophone means adopting a methodology mirroring the artefact itself: moving between social, professional, artistic, sensory registers. In doing so, the ways in which the théâtrophone was attuned to dis- course and practice emerge, as do more subtle processes involved in new nineteenth-century constructs of hearing and listening. Precisely the théâtrophone’s development is examined in relation to its particular social context: its installation on the spectacular Parisian boulevards and its relation to fin de siècle theatre culture. The article first investigates how theatrophonic listening was accorded to existent practices of theatre-going. Second, the article explores the more radical propositions of the théâtrophone in relation to important aesthetic and prac- tical changes occurring simultaneously in theatre culture. The théâtrophone’s virtual sonic experience multiplied the forms of a performance and its modalities of creation and recep- tion. Through accounts of ‘listening in’ the aspects of the new sonically constructed space are described, as are postures of early mediatised listening. The article posits that new modalities of listening are articulated through the théâtrophone, with certain users, including Proust, defining it as a monitoring and creative tool. In this capacity, ‘theatrophonic’ listening contrib- uted to the development of a refined ear, capable of detecting sonic nuance, which was central to artistic sensibilities at the time. 

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