The Measure of a Magazine: Assessing the Influence of the Christian Century

2012 ◽  
Vol 22 (1) ◽  
pp. 53-82 ◽  
Author(s):  
Elesha Coffman

AbstractThe Christian Century is generally regarded as the most influential Protestant magazine of the early twentieth century. But what does it mean to call the Century influential? Whom did it influence, and how? This article takes a historical approach, examining the size of the Century's audience, the nature of the magazine's impact on its readers, and the ability of those readers to extend the magazine's impact beyond themselves. The main source for this investigation is a cache of more than 2,100 unpublished letters collected in 1928 to celebrate Charles Clayton Morrison's twentieth anniversary as editor. In subscribers' own words, the letters illustrated the Century's role as a crucial link among readers with similar backgrounds and aspirations, as well as the limits of its reach beyond this cohort. The article argues that the Century was influential, but not because it converted (directly or through its clergy readers) large numbers of American Protestants to its progressive vision for Christianity. Rather, the Century was primarily influential in the process of mainline identification, both in the sense of defining which writers, institutions, and ideas belonged to the emerging mainline tradition and in the sense of offering readers an opportunity to identify with that tradition. A better understanding of the Century's influence during the Morrison era sheds light on the rise of the mainline. Additionally, a better understanding of the kinds of influence magazines do and do not exercise is helpful for anyone who looks to periodicals to provide a barometer of cultural trends.

1996 ◽  
Vol 65 (1) ◽  
pp. 42-61 ◽  
Author(s):  
Richard Ostrander

In 1912, Andrew Murray, an influential spokesperson for the Keswick theology prevalent in American fundamentalism, decried the sorry state of spirituality among modern Christians. How many there are, he exclaimed, who “say that they have no time and that the heart desire for prayer is lacking; they do not know how to spend half an hour with God! … Day after day, month after month passes, and there is no time to spend one hour with God.” Closing his jeremiad, Murray exclaimed, “How many there are who take only five minutes for prayer!” A few years later, Herbert Willett and Charles Clayton Morrison, editors of The Christian Century, the voice of the emerging liberal movement in American Protestantism, published a daily devotional guide entitled The Daily Altar. Its purpose was to provide Christians with “a few moments of quiet and reflection” in the midst of “short and crowded days” in order to maintain a daily prayer life. To be precise, devotions in The Daily Altar took one and a half minutes to complete.


Author(s):  
Igor Likhuta

The purpose of the article is to consider and identify the features of enterprise and engagement as forms of production in the context of the formation of the profession of producer in the late nineteenth – early twentieth century. The methodology involves the use of cultural and historical methods to understanding the cultural and historical features of the profession of producer, understanding the essence of enterprise and engagement as forms of production. Scientific novelty. From the standpoint of cultural and historical approach, the author's definition of enterprise and commitment as concepts of humanitarian knowledge and business reality is presented, the essence and specificity of these phenomena are reflected as forms of production. Conclusions. It is argued that entrepreneurship and engagement in the context of the formation of mass culture are effective forms of the formation of production in the field of mass culture. It is shown that both entrepreneurs and artists – actors, directors, playwrights – played the role of producer in institutions of an enterprise type. The indicated trend continues to persist, nevertheless, the activities of the producer are constantly being transformed and improved.


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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