scholarly journals Introduction: Popular Islam in twentieth-century Africa

Africa ◽  
1985 ◽  
Vol 55 (4) ◽  
pp. 363-368 ◽  
Author(s):  
C. C. Stewart
Keyword(s):  
Twentieth Century ◽  
Social Scientists ◽  
University Of Illinois ◽  
Or Practice ◽  
Great Tradition ◽  
The University ◽  
Selection Of

The term ‘popular Islam’ at once suggests denial or fragmentation within the Great Tradition or ‘orthodoxy’ in Islam as well as a degree of hostility on the part of those Islamicists and Muslims whose understanding of the oneness of God extends to the indivisibility of His Community. Social scientists may be expected to embrace the notion with more enthusiasm, being accustomed to observing Islam ‘from below’, but legitimate disquiet follows after plumbing the analytical shallows implicit in simple attributions of ‘popular-ness’ to matters of causation, motivation or ideology. Yet, with that said, few students of Islam in Africa cannot cite examples of belief or practice that represent ‘popular Islam’, and most would agree that this frequently bears some relation to the dramatic expansion of Islam during this century in Africa. These were some of the considerations that lay behind the selection of the theme ‘Popular Islam in Twentieth- Century Africa’ for a two-day symposium held at the University of Illinois in April 1984. Five of the papers presented at that meeting – by Louis Brenner and Murray Last, Mbye Cham, Lidwien Kapteijns, Paul Lubeck and Gabriel Warburg – are published with an essay by Abdullahi Osman El-Tom in this issue.

How Does the Billy-Goat Produce Milk? Sergei Eisenstein's Reconstitution of Kabuki Theatre

2016 ◽  
Vol 32 (4) ◽  
pp. 318-332
Author(s):  
Min Tian
Keyword(s):  
Twentieth Century ◽  
Theatre History ◽  
University Of Iowa ◽  
University Of Illinois ◽  
Female Roles ◽  
The University

Through a close examination of Eisenstein's writings on the Kabuki theatre, Min Tian demonstrates in this article that Eisenstein's interpretation of Kabuki from the perspective of his theory displaced the techniques and principles of Kabuki theatre from its historical and aesthetic contexts. Predicated upon his ‘montage thinking’, Eisenstein reconstituted the techniques and principles integral to Kabuki as an organic whole in the context of his evolving and synthesizing theory. Min Tian has a PhD in theatre history from the University of Illinois at Urbana-Champaign and a doctorate at the Central Academy of Drama in Beijing. Currently teaching at the University of Iowa, he is the author of Mei Lanfang and the Twentieth-Century International Stage (2012) and The Poetics of Difference and Displacement: Twentieth-Century Chinese–Western Intercultural Theatre (2008), and editor of China's Greatest Operatic Male Actor of Female Roles: Documenting the Life and Art of Mei Lanfang, 1894–1961 (2010).

‘So Many Things Can Go Together’: the Theatricality of John Cage

1995 ◽  
Vol 11 (41) ◽  
pp. 72-78 ◽  
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Twentieth Century ◽  
Performing Arts ◽  
Japanese Journal ◽  
Performance Theory ◽  
John Cage ◽  
University Of Illinois ◽  
Contemporary Theatre ◽  
The Arts ◽  
Theatrical Performance ◽  
The University

John Cage (1912–1993) is widely regarded as one of the most pervasively influential figures in the arts in the latter half of the twentieth-century. Although best known as a composer, Cage expanded perceptions of what could constitute theatrical performance, and in this essay Natalie Crohn Schmitt assesses the nature and significance of Cage's intermedia performances and their immediate influence on other such work. Natalie Crohn Schmitt's Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Nature (Northwestern UP, 1990) is an analysis of contemporary theatre based on Cage's aesthetics, and essays of hers on Cage have appeared in other journals and in anthologies devoted to the artist. She has previously written in NTQ on Stanislavski (NTQ 8) and on performance theory in its historic moment (NTQ 23). Schmitt is Professor of Performing Arts and Professor of English the University of Illinois at Chicago. This essay was originally published in a slightly different form in Japanese in a Cage commemorative issue of the Japanese journal Music Today.

The Reinvention of Shakespeare in Traditional Asian Theatrical Forms

1998 ◽  
Vol 14 (55) ◽  
pp. 274-284
Author(s):  
Min Tian
Keyword(s):  
Twentieth Century ◽  
Associate Professor ◽  
Modern Drama ◽  
University Of Illinois ◽  
Doctoral Candidate ◽  
Wide Range ◽  
And Performance ◽  
The University

Especially during the later decades of the twentieth century, Shakespeare's plays have been adapted for production in many of the major Asian traditional theatrical forms – prompting some western critics to suggest that such forms, with their long but largely non-logocentric traditions, can come closer to the recovery or recreation of the theatrical conditions and performance styles of Shakespeare's times than can academically derived experiments based on scantily documented research. Whether in full conformity with traditional Asian styles, or by stirring ingredients into a synthetic mix, Min Tian denies that a ‘true’ recreation is possible – but suggests that such productions can, paradoxically, help us to ‘reinvent’ Shakespeare in fuller accord with our own times, notably by exploiting the potential of stylized gesture and movement, and the integration of music and dance, called for by proponents of a modernistic ‘total’ theatre after Artaud. In considering a wide range of Shakespearean productions and adaptations from varying Asian traditions, Min Tian suggests that the fashionably derided ‘universality’ of Shakespeare may still tell an intercultural truth that transcends stylistic and chronological distinctions. Min Tian holds a doctorate from the China Central Academy of Drama, where he has been an associate professor since 1992. The author of many articles on Shakespeare, modern drama, and intercultural theatre, he is now a doctoral candidate at the University of Illinois at Urbana-Champaign.

Conference of Ukrainian Scholars in Urbana, Illinois

1982 ◽  
Vol 10 (2) ◽  
pp. 277-279
Author(s):  
Zenon M. Kuk
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Eastern Europe ◽  
Research Laboratory ◽  
Scientific Society ◽  
University Of Illinois ◽  
Faculty Center ◽  
The University

On June 24-28, 1982 the Conference on Ukrainian Literature in the Twentieth Century took place at the University of Illinois at Urbana-Champaign, Levis Faculty Center. The conference was sponsored by the Summer Research Laboratory on Russia and Eastern Europe, University of Illinois, Urbana-Champaign and the Shevchenko Scientific Society, Inc., New York.

The Third Biennial International Conference on Twentieth-Century Music, University of Nottingham, 26–29 June 2003

2004 ◽  
Vol 1 (1) ◽  
pp. 147-151
Author(s):  
Claire Taylor-Jay
Keyword(s):  
Twentieth Century ◽  
Popular Music ◽  
Art Music ◽  
Central Feature ◽  
International Conference ◽  
The Third ◽  
Twentieth Century Music ◽  
Musical Practices ◽  
The University ◽  
Selection Of

The great stylistic diversity of the music written during the twentieth century (and beyond) would seem to make the organization of any conference devoted to it a formidable task: can one really hope to cover a representative selection? While a decade ago such an event might well have covered only art music (a disparate enough field in itself), nowadays one would expect to see some attention given to jazz, popular music, and film. The organizers of the Third Biennial International Conference on Twentieth-Century Music at the University of Nottingham made a conscious attempt at inclusivity, selecting papers that might have been better put together under the title of ‘Twentieth-Century Musics’. The diversity of music represented by the papers was reflected in the plurality of approaches and methodologies. Indeed, one central feature of the conference was its concern not only with musical works, or with twentieth-century composers, but with musical practices. Alongside the statutory selection of more or less canonical art composers and their music, there were several sessions on popular music, jazz, and perspectives from ethnomusicology.

Carmen Pursifull

2017 ◽  
Author(s):  
Marc Zimmerman
Keyword(s):  
Twentieth Century ◽  
Puerto Rican ◽  
Full Range ◽  
Radical Politics ◽  
University Of Illinois ◽  
Latino Student ◽  
Literary Magazine ◽  
Poet Laureate ◽  
Student Center ◽  
The University

This chapter looks at Carmen Pursifull, who, like many of the writers of the first half of the twentieth century, were distanced from the radical politics of community ideologues and dreamers. Intense, erotic, ironic, sometimes embarrassingly direct, flat, uneven, at times evocative and haunting, Pursifull's poetry portrays the full range of her life. Since 1975, Pursifull has published widely in Illinois, Midwestern, and national publications, including a few poems in the literary magazine of the University of Illinois' La Casa Cultura Latina—the campus' Latino student center, of which she became a kind of local poet laureate and matriarch. In 1982, she also self-published the largest volume of poetry by any Illinois Puerto Rican poet, Carmen by Moonlight. Since then, she has added several small volumes to her published opus and has worked on other texts, including a novel.

Locating Australian Corporate Memory

1999 ◽  
Vol 73 (2) ◽  
pp. 256-264 ◽  
Author(s):  
Simon Ville ◽  
Grant Fleming
Keyword(s):  
Twentieth Century ◽  
Large Study ◽  
Business History ◽  
Corporate Leadership ◽  
Corporate Memory ◽  
National University ◽  
Sound Foundation ◽  
The University ◽  
Archival Work ◽  
Selection Of

This research note reports on the quantity of business records available in Australia as indicated by a recent survey of the top one hundred firms operating during the twentieth century. The archival work was undertaken as part of a large study investigating aspects of corporate leadership in Australia, conducted Jointly at the Australian National University and the University of Melbourne. We found that the surviving records of Australian businesses cover a wide selection of firm types, and that the comprehensiveness of many archives places business history on a sound foundation for the future.

Once Upon a Time in Ecuador: Memories of Miki

2004 ◽  
Vol 26 (1) ◽  
pp. 45-46
Author(s):  
Norris Lang
Keyword(s):  
New York ◽  
Graduate Student ◽  
Graduate School ◽  
Land Reform ◽  
University Of Illinois ◽  
Dissertation Advisor ◽  
The University ◽  
The Impact ◽  
Selection Of

I arrived as a graduate student at the University of Illinois in the fall of 1961, joining the relatively new Department of Anthropology under the direction of Joseph B. Casagrande. Muriel (Miki) Crespi (nee Kaminsky) had already been a graduate student for a full year. We became fast friends immediately. Shy, timid, quiet, and midwestern, I was not exactly a likely running buddy. But from the beginning, she was my mentor. After all, she was already wiser in the mysteries of graduate school; and as time passed, I came to know her as a wonderfully warm, intelligent woman from New York who also happened to be Jewish. I had never before connected with anyone who was so urbane and effortlessly gregarious. Mick's and my friendship further blossomed in our shared selection of Dr. Casagrande as our dissertation advisor and of Ecuador as our fieldwork area. Early on, Miki knew she wanted to study the impact of land reform on a government-owned hacienda high in the Ecuadorian sierra, working primarily with Indios or campesinos. She saw nothing out of character to live at an elevation of 11,000 feet, nor to speak Quechua. She left Illinois briefly to go to Cornell to learn the rudiments of Quechua. (Later she was devastated to find that the Quechua taught at Cornell was a different dialect altogether.)

scholarly journals Iconografia Selecta da Flora Portuguesa – A ilustração científica no dealbar do séc. XX e o seu contributo na divulgação da botânica

2019 ◽  
Vol 20 ◽  
pp. 497-511
Author(s):  
Eva Malainho ◽  
Fernando Jorge Simões Correia ◽  
Cristiana Vieira
Keyword(s):  
Twentieth Century ◽  
Natural History ◽  
Science Communication ◽  
Scientific Illustration ◽  
History Of Botany ◽  
Botanical Species ◽  
History Of ◽  
The University ◽  
Selection Of ◽  
Made In

Resumo A obra “Iconografia Selecta da Flora Portuguesa”, de Gonçalo Sampaio (botânico) e Sara Cabral Ferreira (ilustradora), foi editada pela primeira vez em 1949. Contendo cento e cinquenta estampas de espécies da flora portuguesa, este livro destacou-se na literatura botânica nacional, embora fosse uma edição póstuma e incompleta. Os seus desenhos originais, realizados em técnica monotonal (tinta-da-china), integram atualmente a coleção de ilustração científica do Museu de História Natural e da Ciência da Universidade do Porto (MHNC-UP). Uma vez que nenhum texto, além do prefácio e dos nomes científicos das plantas, acompanha as imagens no livro, as razões que sustentaram a seleção das espécies a ilustrar, assim como a sua relevância botânica, permaneceram desconhecidas. Neste artigo, tentamos reconstruir a história desta iconografia, com base na análise de documentos epistolares e manuscritos. Focamo-nos também na importância da ilustração científica e no seu uso como ferramenta para a representação visual de espécies botânicas e para a comunicação de ciência. Assim, analisamos a metodologia empregue, quer na tipologia do arquétipo, quer na técnica de execução, bem como as eventuais restrições que conduziram a essas opções. Ao analisar estas ilustrações botânicas da primeira metade do séc. XX, procurou-se ainda explorar a pertinência destas iconografias em estudos botânicos anteriores e contemporâneos, bem como o seu potencial enquanto instrumentos de difusão de ciência. Palavras-chave: Ilustração Científica; Flora Portuguesa; História da Botânica. Abstract The book “Iconografia Selecta da Flora Portuguesa”, by Gonçalo Sampaio (botanist) and Sara Cabral Ferreira (illustrator), was first published in 1949. Containing one hundred and fifty prints of Portuguese flora species, this book stood out in the national botanical literature, although it was a posthumous and incomplete edition. The original book drawings, made in a monotonic technique, are part of the scientific illustration collection of the Museum of Natural History and Science of the University of Porto (MHNC- UP). Since no text, besides preface and the scientific names of the plants, accompanies the images in the book, the reasons which supported the selection of the species to be illustrated, as well as their botanical relevance, remained unknown. In this article, we attempted to reconstruct the history of this iconography, based on the analysis of epistolary documents and manuscripts. We also focus on the importance of scientific illustration and on its usage as a tool for the visual representation of botanical species and for science communication. Therefore, we analyzed the methodology used both in the typology of the archetype as in the execution techniques, as well as the restrictions that led to those options. By analyzing these botanical drawings of the first half of the twentieth century, it was also sought to explore the relevance of these iconographies in earlier and modern botanical studies, as well as their potential as instruments of diffusion of science. Keywords: Scientific Illustration; Portuguese Flora; History of Botany.

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