The Promise of Utopia

2017 ◽  
Author(s):  
G. Clinton Godart
Keyword(s):  
Twentieth Century ◽  
Evolutionary Theory ◽  
The State ◽  
Religious Ideology ◽  
Early Twentieth Century ◽  
The Future ◽  
New Form ◽  
Theories Of Evolution

In early twentieth century Japan, socialists and anarchists appropriated evolutionary theory and reoriented evolutionary theory to the Left. They promoted ideas of materialism with a critique of the ideology of the kokutai and State Shintō, thus triggering clashes between evolutionary theory and the ideology of the state. This development was balanced by the emergence of new visions of evolutionary utopianism, with Buddhist and Christian variants. New theories of evolution were introduced, such as those of Kropotkin and Bergson, and theories of vitalism emerged as a new form of resisting materialism. Utopianists, such as Kita Ikki, Kagawa Toyohiko, and Nichiren Buddhists, used evolutionary theory to predict extreme optimistic visions of the future. Both the left and utopianists deployed evolutionary theory to produce visions of modernization and progress that were very different from the vision of modernization produced by the state or by the religious ideology of the kokutai.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

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.

Collective Memory: Between Values and Historical Knowledge

2020 ◽  
pp. 124-142
Author(s):  
VICTOR BURLACHUK
Keyword(s):  
Twentieth Century ◽  
Soviet Union ◽  
Collective Memory ◽  
Rapid Change ◽  
Modern Society ◽  
The State ◽  
Main Element ◽  
Rapid Decline ◽  
The Past ◽  
The Future

At the end of the twentieth century, questions of a secondary nature suddenly became topical: what do we remember and who owns the memory? Memory as one of the mental characteristics of an individual’s activity is complemented by the concept of collective memory, which requires a different method of analysis than the activity of a separate individual. In the 1970s, a situation arose that gave rise to the so-called "historical politics" or "memory politics." If philosophical studies of memory problems of the 30’s and 40’s of the twentieth century were focused mainly on the peculiarities of perception of the past in the individual and collective consciousness and did not go beyond scientific discussions, then half a century later the situation has changed dramatically. The problem of memory has found its political sound: historians and sociologists, politicians and representatives of the media have entered the discourse on memory. Modern society, including all social, ethnic and family groups, has undergone a profound change in the traditional attitude towards the past, which has been associated with changes in the structure of government. In connection with the discrediting of the Soviet Union, the rapid decline of the Communist Party and its ideology, there was a collapse of Marxism, which provided for a certain model of time and history. The end of the revolutionary idea, a powerful vector that indicated the direction of historical time into the future, inevitably led to a rapid change in perception of the past. Three models of the future, which, according to Pierre Nora, defined the face of the past (the future as a restoration of the past, the future as progress and the future as a revolution) that existed until recently, have now lost their relevance. Today, absolute uncertainty hangs over the future. The inability to predict the future poses certain challenges to the present. The end of any teleology of history imposes on the present a debt of memory. Features of the life of memory, the specifics of its state and functioning directly affect the state of identity, both personal and collective. Distortion of memory, its incorrect work, and its ideological manipulation can give rise to an identity crisis. The memorial phenomenon is a certain political resource in a situation of severe socio-political breaks and changes. In the conditions of the economic crisis and in the absence of a real and clear program for future development, the state often seeks to turn memory into the main element of national consolidation.

scholarly journals Discrimination? Protestantism and Jewish Christians in the State of Israel

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Gert J Van Klinken
Keyword(s):  
Twentieth Century ◽  
The State ◽  
Early Twentieth Century ◽  
State Of Israel ◽  
Jewish Christians

During the nineteenth and early twentieth century, Jewish mission became an established branch of Protestant mission in general. As the Jewish converts to Protestantism remained fairly few in numbers, these converts were expected to engage in missionary efforts too, among their fellow Jews. One of the results of the ensuing polarization was the exclusion of baptized Jews from the citizenship of the State of Israel, where they were considered traitors by a majority of society. This article argues that programmes for Jewish-Christian dialogue in the State of Israel came under pressure to bar the Jewish Christians from taking part, and explores the question whether the ensuing policies can be ranked as examples of discrimination against this group.

The Meaning[s] of "Without": An Exploration of Liszt's Bagatelle ohne Tonart

2004 ◽  
Vol 27 (3) ◽  
pp. 230-262 ◽  
Author(s):  
David Berry
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Musical Thought ◽  
Early Twentieth Century ◽  
The Future ◽  
Piano Composition ◽  
Musical Evolution ◽  
Future Direction ◽  
Theoretical Issues ◽  
The Way

In this essay, I explore historical and theoretical issues germane to an understanding of an 1885 piano composition with an intriguing title: LisztÕs Bagatelle ohne Tonart--a bagatelle "without tonality" or "without a key." After briefly describing the workÕs history and musical associations with other compositions by Liszt, I survey two present-day approaches that reveal ways in which the work defies tonality: octatonic interpretations via set-class examinations, and Schenker-influenced prolongational models. I then turn to focus instead on how the Bagatelle fit within the framework of nineteenth-century musical thought; how its processes were supported by contemporaneously evolving theories of chromaticism. Partly through an analysis based on the practice of Gottfried Weber (1779-1839), I demonstrate that the Bagatelle is not a piece "without tonality" as much as it is one "without the fulfillment of the tonic." It maintains harmonic tension by avoiding anticipated resolutions, as well as by preserving a sense of ambiguity as to what the actual "missing" key is. Next, I consider why Liszt was prompted to write a piece in such a manner. We know that he was a proponent of musical progress--of Zukunftsmusik ("music of the future")--but for this fact to be relevant we must confirm, first, that Liszt had definite ideas about a Zukunftsharmoniesystem; and second, that such a system is reflected in the processes exhibited by the Bagatelle. I argue that the BagatelleÕs traits are indeed in accordance with theoretical views about musicÕs future direction, to which Liszt subscribed. Relevant theories of Karl Friedrich Weitzmann (1808-80) and Franois-Joseph FŽtis (1784-1871) are assessed. Lastly, in a "Schoenbergian epilogue" I explore connections between LisztÕs operations and SchoenbergÕs ideas, addressing historical associations that conjoin their views of composing "ohne Tonart."I conclude that the 1885 BagatelleÕs attenuation of tonality was part of a tradition that extended from the mid-nineteenth into the early twentieth century--one that stretched from Liszt and his contemporaries through Schoenberg and his pupils and beyond, embracing along the way the theoretical prescriptions of Weitzmann, FŽtis, and Schoenberg himself. The various threads of theory and analysis explored in this article contribute to an understanding of the same strand of musical evolution: the increasing circumvention of tonality to the point that a piece could be written "ohne Tonart."

The Discipline of Meter

2012 ◽  
Author(s):  
Meredith Martin
Keyword(s):  
Twentieth Century ◽  
English Education ◽  
The State ◽  
Good Citizen ◽  
Early Twentieth Century ◽  
Private And Public ◽  
Educational Theorist ◽  
Public Cultures ◽  
Crucial Part ◽  
Mass Identification

This chapter looks closely at the rise of state-funded English education to uncover the disciplinary role that poetry played. It shows how the naturalization of English “meter” was a crucial part of the English literary curriculum. “Meter” is placed in quotation marks because the “meter” that emerges in the state-funded classroom has little to do with the prosody wars going on outside its walls. Educational theorist Matthew Arnold's cultural metrics, in which poetry by Shakespeare, for instance, will subtly and intimately transform a student into a good citizen, is replaced by a patriotic pedagogy wherein verses written in rousing rhythms are taught as a naturally felt English “beat.” It suggests that poet and educational theorist Henry Newbolt's figure of the “drum” performed a naturalized rhythm that brought England together as a collective. The collective mass identification with (and proliferation of) patriotic verses created an even sharper divide between the high and low, elite and mass, private and public cultures of poetry in the early twentieth century.

A. G. Dickens and the late medieval Church

2004 ◽  
Vol 77 (195) ◽  
pp. 98-110 ◽  
Author(s):  
Eamon Duffy
Keyword(s):  
Twentieth Century ◽  
The State ◽  
Late Medieval ◽  
Archival Material ◽  
Early Twentieth Century ◽  
Medieval Church ◽  
Religious Formation

Abstract In this article A. G. Dickens's writings about late medieval religion are located in the context of early twentieth-century English historiography, in particular the controversies between Cardinal Aidan Gasquet and Dr. G. G. Coulton. The article argues that despite his desire for judicious objectivity, and despite also his innovatory use of hitherto neglected types of archival material, Dickens's essentially negative assessment of the state of the late medieval Church was shaped by his own early religious formation, and by a Protestant/whig outlook which he shared with Coulton. As a consequence, he understood some mainstream Tudor religious emphases and convictions as ‘medieval’, by which he meant backward-looking minority concerns.

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