scholarly journals The Performance of Poeticity: Stage Fright and Text Anxiety in Dutch Performance Poetry since the 1960s

Authorship ◽  
2012 ◽  
Vol 1 (2) ◽  
Author(s):  
Gaston Franssen
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Avant Garde ◽  
Alternative Approach ◽  
Performance Poetry ◽  
Performance Traditions ◽  
Text Anxiety ◽  
The 1960S ◽  
The One ◽  
Analysis Of Performance

The relation between performance poetry and poetry criticism, as the latter is generally practiced in newspapers and journals, appears to be strained. This is the result of a clash between two different performance traditions: on the one hand, a tradition that goes back to eighteenth- and nineteenth-century conventions of poetry declamation or recitation; and on the other hand, a tradition based on performance experiments carried out by avant-garde movements during the first half of the twentieth-century. This article charts the different sets of expectations associated with these traditions by analyzing how these expectations became manifest during the Dutch poetry event ‘Poëzie in Carré’ (Febraury 28th, 1966). As will become clear, individual authorship, textual unity, and poetic significance play important, yet very different roles in these two traditions. Furthermore, I put forward an alternative approach to the issue at hand, by focusing on one particular participant in ‘Poëzie in Carré,’ Johnny van Doorn (1944-1991). Thus, this article aims to contribute to a historically aware and more constructive analysis of performance poetry.

Ugliness and Beauty: the Politics of Landscape in Walter Greenwood's Love on the Dole

2013 ◽  
Vol 29 (1) ◽  
pp. 35-47
Author(s):  
Claire Warden
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
The Other ◽  
Surrounding Area ◽  
North West ◽  
Avant Garde ◽  
The North ◽  
The One ◽  
The University ◽  
Open Fields

The multi-spatial landscape of the North-West of England (Manchester–Salford and the surrounding area) provides the setting for Walter Greenwood's 1934 play Love on the Dole. Both the urban industrialized cityscape and the rural countryside that surrounds it are vital framing devices for the narrative – these spaces not simply acting as backdrops but taking on character roles. In this article Claire Warden reads the play's presentation of the North through the concept of landscape theatre, on the one hand, and Raymond Williams's city–country dialogism on the other, claiming that Love on the Dole is imbued with the revolutionary possibility that defines the very landscape in which it is set. From claustrophobic working-class kitchen to the open fields of Derbyshire, Love on the Dole has a sense of spatial ambition in which Greenwood regards all landscapes as tainted by the industrial world while maintaining their capacity to function independently. Ugliness and beauty, capitalist hegemony and socialistic hopefulness reside simultaneously in this important under-researched example of twentieth-century British theatre, thereby reflecting the ambivalent, shifting landscape of the North and producing a play that cannot be easily defined artistically or politically. Claire Warden is a Lecturer in Drama at the University of Lincoln. Her work focuses on peripheral British performances in the early to mid-twentieth century. She is the author of British Avant-Garde Theatre (Palgrave MacMillan, 2012) and is currently writing Modernist and Avant-Garde Performance: an Introduction for Edinburgh University Press, to be published in 2014.

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Gender and Social Exclusion in European Migration Crisis

2018 ◽  
pp. 658-676
Author(s):  
Marlou Schrover
Keyword(s):  
Twentieth Century ◽  
Social Exclusion ◽  
Historical Perspective ◽  
The Other ◽  
Men And Women ◽  
Refugee Women ◽  
Other Hand ◽  
Migration Crisis ◽  
The One ◽  
European Migration

This chapter discusses social exclusion in European migration from a gendered and historical perspective. It discusses how from this perspective the idea of a crisis in migration was repeatedly constructed. Gender is used in this chapter in a dual way: attention is paid to differences between men and women in (refugee) migration, and to differences between men and women as advocates and claim makers for migrant rights. There is a dilemma—recognized mostly for recent decades—that on the one hand refugee women can be used to generate empathy, and thus support. On the other hand, emphasis on women as victims forces them into a victimhood role and leaves them without agency. This dilemma played itself out throughout the twentieth century. It led to saving the victims, but not to solving the problem. It fortified rather than weakened the idea of a crisis.

Political Matrix and Political Representation: Prolegomenon to a New Departure from an Old Problem

1969 ◽  
Vol 63 (2) ◽  
pp. 427-441 ◽  
Author(s):  
Kenneth Prewitt ◽  
Heinz Eulau
Keyword(s):  
Twentieth Century ◽  
Empirical Research ◽  
Political Representation ◽  
Scientific Work ◽  
The Other ◽  
Past Century ◽  
City Councils ◽  
Political Units ◽  
The One ◽  
Special District

Scholars interested in theorizing about political representation in terms relevant to democratic governance in mid-twentieth century America find themselves in a quandary. We are surrounded by functioning representative institutions, or at least by institutions formally described as representative. Individuals who presumably “represent” other citizens govern some 90 thousand different political units—they sit on school and special district boards, on township and city councils, on county directorates, on state and national assemblies, and so forth. But the flourishing activity of representation has not yet been matched by a sustained effort to explain what makes the representational process tick.Despite the proliferation of representative governments over the past century,theoryabout representation has not moved much beyond the eighteenth-century formulation of Edmund Burke. Certainly most empirical research has been cast in the Burkean vocabulary. But in order to think in novel ways about representative government in the twentieth-century, we may have to admit that present conceptions guiding empirical research are obsolete. This in turn means that the spell of Burke's vocabulary over scientific work on representation must be broken.To look afresh at representation, it is necessary to be sensitive to the unresolved tension between the two main currents of contemporary thinking about representational relationships. On the one hand, representation is treated as a relationship between any one individual, the represented, and another individual, the representative—aninter-individualrelationship. On the other hand, representatives are treated as a group, brought together in the assembly, to represent the interest of the community as a whole—aninter-grouprelationship. Most theoretical formulations since Burke are cast in one or the other of these terms.

The foundations and prerequisites of imagology

2021 ◽  
pp. 65-74
Author(s):  
Valerii P. Trykov ◽  
Keyword(s):  
Social Engineering ◽  
Dominant Strategy ◽  
The Other ◽  
Special Role ◽  
The West ◽  
European Culture ◽  
Post War ◽  
The 1960S ◽  
The One ◽  
Eu Project

The article examines the conceptual foundations and scientific, sociocultural and philosophical prerequisites of imagology, the field of interdisciplinary research in humanitaristics, the subject of which is the image of the “Other” (foreign country, people, culture, etc.). It is shown that the imagology appeared as a response to the crisis of comparatives of the mid-20th century, with a special role in the formation of its methodology played by the German comparatist scientist H. Dyserinck and his Aachen School. The article analyzes the influence on the formation of the imagology of post-structuralist and constructivist ideological-thematic complex (auto-reference of language, discursive history, construction of social reality, etc.), linguistic and cultural turn in the West in the 1960s. Shown is that, extrapolated to national issues, this set of ideas and approaches has led to a transition from the essentialist concept of the nation to the concept of a nation as an “imaginary community” or an intellectual construct. A fundamental difference in approaches to the study of an image of the “Other” in traditional comparativism and imagology, which arises from a different understanding of the nation, has been distinguished. It is concluded that the imagology studies the image of the “Other” primarily in its manipulative, socio-ideological function, i.e., as an important tool for the formation and transformation of national and cultural identity. The article identifies ideological, socio-political factors that prepared the birth of the imagology and ensured its development in western Humanities (fear of possible recurrences of extreme nationalism and fascism in post-war Europe, the EU project, which set the task of forming a pan-European identity). It is concluded that the imagology, on the one hand, has actualized an important field of scientific research — the study of the image of the “Other”, but, on the other hand, in the broader cultural and historical perspective, marked a departure not only from the traditions of comparativism and historical poetics, but also from the humanist tradition of the European culture, becoming part of a manipulative dominant strategy in the West. To the culture of “incorporation” into a “foreign word” in order to understand it, preserve it and to ensure a genuine dialogue of cultures, the imagology has contrasted the social engineering and the technology of active “designing” a new identity.

Voltaire, Philosopher of Human Progress

PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 356-364
Author(s):  
Virgil W. Topazio
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Mind ◽  
The Other ◽  
Single Addition ◽  
The One ◽  
Natural Philosophers ◽  
Popular Consent ◽  
Positive Knowledge ◽  
Separate Discipline

With the emergence of philosophy in the nineteenth century as a separate discipline which stressed primarily questions insoluble by empirical or formal methods, Voltaire's reputation as a philosopher has gone into gradual eclipse. It has become unfashionable and degrading for philosophers to concern themselves with the practical aspects of philosophical enquiry. In eighteenth-century France, on the other hand, the identification of philosophy with science, which by twentieth-century standards had vitiated philosophical thought, produced the “philosophes” or natural philosophers who were on the whole more interested in human progress than in the progress of the human mind. And Voltaire was by popular consent the leader of this “philosophe” group, the one who had unquestionably contributed the most in the struggle to make man a happier and freer member of society. Yet, ironically, despite a lifelong effort in behalf of humanity, Voltaire's reputation as a destructive thinker has steadily grown even as the critics have pejoratively classified him as a “practical” rather than a “real” philosopher. Typical of this criticism of Voltaire is Macaulay's statement: “Voltaire could not build: he could only pull down: he was the very Vitruvius of ruin. He has bequeathed to us not a single doctrine to be called by his name, not a single addition to the stock of our positive knowledge.”

Concept of Rivalry in D.H. Lawrence’s Sons and Lovers

2020 ◽  
Vol 12 (4) ◽  
pp. 443-454
Keyword(s):  
Twentieth Century ◽  
Attachment Theory ◽  
Sibling Rivalry ◽  
Oedipus Complex ◽  
The Other ◽  
The Novel ◽  
Men And Women ◽  
Qualitative Pattern ◽  
The One ◽  
Theory Competition

Sons and Lovers (1913) is one of D.H. Lawrence’s most prominent novels in terms of psychological complexities characteristic of most, if not all, of his other novels. Many studies have been conducted on the Oedipus complex theory and psychological relationship between men and women in Lawrence’s novels reflecting the early twentieth century norms of life. This paper reexamines Sons and Lovers from the perspective of rivalry based on Alfred Adler’s psychological studies. The discussion tackles the sibling rivalry between the members of the Morels and extends to reexamining the rivalry between other characters. This concept is discussed in terms of two levels of relationships. First, between Paul and William as brothers on the one hand, and Paul and father and mother, on the other. Second, the rivalry triangle of Louisa, Miriam and Mrs. Morel. The qualitative pattern of the paper focuses on the textual analysis of the novel to show that Sons and Lovers can be approached through the concept of rivalry and sibling Rivalry. Keywords: Attachment theory, Competition, Concept of Rivalry, Favoritism, Sibling rivalry.

Fielding and Richardson

PMLA ◽  
1966 ◽  
Vol 81 (5) ◽  
pp. 381-388
Author(s):  
William Park
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Human Nature ◽  
General Type ◽  
Common Ground ◽  
The Other ◽  
The Novel ◽  
Tom Jones ◽  
The Common ◽  
The One

But the Discovery [of when to laugh and when to cry] was reserved for this Age, and there are two Authors now living in this Metropolis, who have found out the Art, and both brother Biographers, the one of Tom Jones, and the other of Clarissa.author of Charlotte SummersRather than discuss the differences which separate Fielding and Richardson, I propose to survey the common ground which they share with each other and with other novelists of the 1740's and 50's. In other words I am suggesting that these two masters, their contemporaries, and followers have made use of the same materials and that as a result the English novels of the mid-eighteenth century may be regarded as a distinct historic version of a general type of literature. Most readers, it seems to me, do not make this distinction. They either think that the novel is always the same, or they believe that one particular group of novels, such as those written in the early twentieth century, is the form itself. In my opinion, however, we should think of the novel as we do of the drama. No one kind of drama, such as Elizabethan comedy or Restoration comedy, is the drama itself; instead, each is a particular manifestation of the general type. Each kind bears some relationship to the others, but at the same time each has its own identity, which we usually call its conventions. By conventions I mean not only stock characters, situations, and themes, but also notions and assumptions about the novel, human nature, society, and the cosmos itself. If we compare one kind of novel to another without first considering the conventions of each, we are likely to make the same mistake that Thomas Rymer did when he blamed Shakespeare for not conforming to the canons of classical French drama.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

scholarly journals Gdy Europa choruje, Rosja nie jest lekarstwem

2020 ◽  
Vol 72 (4) ◽  
pp. 41-57
Author(s):  
Marek Menkiszak
Keyword(s):  
The Other ◽  
The European Union ◽  
European Policy ◽  
Fake News ◽  
Alternative Approach ◽  
The Face ◽  
The One ◽  
New Situation ◽  
The Voice ◽  
Ambiguous Position

In the face of a new serious crisis in Europe caused by the coronavirus pandemic, Russia has taken an ambiguous position. On the one hand, it was spreading fake news and, on the other hand, it was providing Italy with symbolic support. Russia’s immediate goal was to persuade the European Union (EU) to reduce or lift sanctions. The new situation provides a new argument to those participants of the European debate who are in favour of normalisation and even reset of relations with Russia. Among them, the voice of France is particularly clear since its President Emanuel Macron has taken up the initiative to build the ‘architecture of trust and security’ with Russia. These proposals, which are now quite vague, are based on questionable  assumptions and deepen divisions in Europe and the crisis in transatlantic relations. By rising Moscow’s hopes for some form of (geo)political bargain, they in fact encourage Russia to continue its aggressive policy towards its European neighbours. An alternative approach based on several principles is needed in the debate on EU policy towards Russia: developing all five Mogherini’s points; maintaining sanctions against Russia until the reasons for their introduction cease to exist; symmetry of commitments and benefits related to limited cooperation with Russia; inviolability of key interests, security and sovereignty of EU and NATO member and partner states; and balancing the dialogue with the Russian authorities by supporting Russian civil society. Europe can survive without Russia but Russia cannot survive without Europe, which is why European policy needs consistency and strategic patience.

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