Black and White Cultural Interaction in the Early Twentieth Century South: Race and Hillbilly Music

1974 ◽  
Vol 35 (4) ◽  
pp. 407 ◽  
Author(s):  
John S. Otto ◽  
Augustus M. Burns
Keyword(s):  
Twentieth Century ◽  
Cultural Interaction ◽  
Black And White ◽  
Early Twentieth Century ◽  
Hillbilly Music

People of Adam: Divine Healing and Racial Cosmopolitanism in the Early Twentieth-Century Transvaal, South Africa

2015 ◽  
Vol 57 (2) ◽  
pp. 557-592 ◽  
Author(s):  
Joel Cabrita
Keyword(s):  
South Africa ◽  
Twentieth Century ◽  
Faith Healing ◽  
Divine Healing ◽  
South Africans ◽  
Black And White ◽  
Early Twentieth Century ◽  
History Of ◽  
Biological Race ◽  
Healing Group

AbstractThis article analyses the intersection between cosmopolitanism and racist ideologies in the faith healing practices of the Christian Catholic Apostolic Church in Zion. Originally from Illinois, USA, this organization was the period's most influential divine healing group. Black and white members, under the leadership of the charismatic John Alexander Dowie, eschewed medical assistance and proclaimed God's power to heal physical affliction. In affirming the deity's capacity to remake human bodies, church members also insisted that God could refashion biological race into a capacious spiritual ethnicity: a global human race they referred to as the “Adamic” race. Zionist universalist teachings were adopted by dispossessed and newly urbanized Boer ex-farmers in Johannesburg, Transvaal, before spreading to the soldiers of the British regiments recently arrived to fight the Boer states in the war of 1899–1902. Zionism equipped these estranged white “races” with a vocabulary to articulate political reconciliation and a precarious unity. But divine healing was most enthusiastically received among the Transvaal's rural Africans. Amidst the period's hardening segregation, Africans seized upon divine healing's innovative racial teachings, but both Boers and Africans found disappointment amid Zion's cosmopolitan promises. Boers were marginalized within the new racial regimes of the Edwardian empire in South Africa, and white South Africans had always been ambivalent about divine healing's incorporations of black Africans into a unitary race. This early history of Zionism in the Transvaal reveals the constriction of cosmopolitan aspirations amidst fast-narrowing horizons of race, nation, and empire in early twentieth-century South Africa.

Segregation and Homeownership in the Early Twentieth Century

2017 ◽  
Vol 107 (5) ◽  
pp. 410-414 ◽  
Author(s):  
Trevon D. Logan ◽  
John M. Parman
Keyword(s):  
Twentieth Century ◽  
Residential Segregation ◽  
Negative Correlation ◽  
Gi Bill ◽  
County Level ◽  
Black And White ◽  
Rural Counties ◽  
Early Twentieth Century ◽  
The Impact

We use new county-level segregation estimates for the period of 1880 to 1940 to document a general rise in residential segregation in both urban and rural counties occurring alongside rising homeownership rates. However, we find a negative correlation between segregation and homeownership across space for both black and white households. Following Fetter (2013), we show that living in a more segregated county substantially reduced the impact of GI Bill benefits on white homeownership rates, suggesting that segregated locations potentially hindered both white and black homeownership.

scholarly journals Images of an illness : a case study of Albert R. Stone's tuberculosis photographs

2021 ◽  
Author(s):  
Tasha Lin Caswell
Keyword(s):  
Twentieth Century ◽  
Contextual Information ◽  
The Other ◽  
Tuberculosis Treatment ◽  
Black And White ◽  
Early Twentieth Century ◽  
Master's Thesis ◽  
Treatment Facilities ◽  
Made In

This master's thesis is a case study of sixteen black-and-white photographs of tuberculosis treatment facilities in Rochester, N.Y., by local photographer Albert R. Stone. They appeared in the Rochester Herald in as two photo essays, one in 1909 and the other in 1923. The aim of my research was to provide contextual information about Albert Stone and the Rochester Herald, tuberculosis and its treatment, and how the disease was portrayed photographically, and ultimately, to determine whether Stone's photographs were typical of tuberculosis-related images. I examined them in the context of other sanatorium images and based on statements about the conventions of sanatorium photographs made by Daniel M. Fox and Christopher Lawrence in Photographing Medicine: Images and Power in Britain and America Since 1840, and concluded that they were representative of photographs of sanatoriums made in the early twentieth century.

scholarly journals Images of an illness : a case study of Albert R. Stone's tuberculosis photographs

2021 ◽  
Author(s):  
Tasha Lin Caswell
Keyword(s):  
Twentieth Century ◽  
Contextual Information ◽  
The Other ◽  
Tuberculosis Treatment ◽  
Black And White ◽  
Early Twentieth Century ◽  
Master's Thesis ◽  
Treatment Facilities ◽  
Made In

This master's thesis is a case study of sixteen black-and-white photographs of tuberculosis treatment facilities in Rochester, N.Y., by local photographer Albert R. Stone. They appeared in the Rochester Herald in as two photo essays, one in 1909 and the other in 1923. The aim of my research was to provide contextual information about Albert Stone and the Rochester Herald, tuberculosis and its treatment, and how the disease was portrayed photographically, and ultimately, to determine whether Stone's photographs were typical of tuberculosis-related images. I examined them in the context of other sanatorium images and based on statements about the conventions of sanatorium photographs made by Daniel M. Fox and Christopher Lawrence in Photographing Medicine: Images and Power in Britain and America Since 1840, and concluded that they were representative of photographs of sanatoriums made in the early twentieth century.

scholarly journals The Sunshine State In Color : The Autochromes Of Charles Zoller

2021 ◽  
Author(s):  
Selina Lamberti
Keyword(s):  
New York ◽  
Twentieth Century ◽  
North America ◽  
The State ◽  
Color Images ◽  
Black And White ◽  
Upstate New York ◽  
Early Twentieth Century ◽  
Popular Images

Charles C. Zoller (1856-1934) was prolific photographer and native of Rochester, New York. His archive is held at George Eastman International Museum of Photography and Film and consist of over 8,000 photographic objects, just under 4,000 of which are autochrome plates. This thesis focuses on the approximately 317 Zoller autoochromes of Florida that make up a small fraction of the fonds This thesis furthermore considers the visual representatin of Florida in color in the early twentieth century and compares tropes in this imagery to Zoller's representation of the Sunshine State. Traveling and photographing extensively in North America and Europe, Zoller produced both color images with Lunière Autochrome plates and black-and-white images with various photographic products. Upon return to Upstate New york, Zoller gave lectures on a variety of topics, illustrating these lectures with projected autochromes and lantern slides. Since there are few know autochromes of Florida, Zoller's series are some of the earliest examples of color photographs of the state. While Zoller's images are often predictable representations of Florida, they nevertheless provide a window into how Florida was presented in the early part of the last century. This thesis compares Zoller's autochromes to other popular images of Florida in that time.

Old Time Dancing in Northeast Tennessee

2017 ◽  
Author(s):  
Susan Eike Spalding
Keyword(s):  
Twentieth Century ◽  
Focal Point ◽  
Dance Music ◽  
Economic Changes ◽  
Folk Revival ◽  
Early Twentieth Century ◽  
Northeast Tennessee ◽  
The Impact ◽  
Hillbilly Music

This chapter examines the impact of social and economic changes on old time dancing in Northeast Tennessee in the twentieth century, using the Beechwood Family Music Center in Fall Branch as a focal point of discussion. It begins with a background on Beechwood, one of several places in the Northeast Tennessee–Southwest Virginia valley where old time dancing took place in the late 1980s and early 1990s. It then considers how how rural values and industrialization converged in early-twentieth-century Northeast Tennessee, along with its effects on local dance traditions. It also explores the marketing of square dancing as part and parcel of the rural image produced by the barn dances and by recordings of “hillbilly” music; the emergence of modern western square dancing and wagon training in Northeast Tennessee; and folk revival and festivals. The chapter concludes with an overview of the evolution of dance forms and styles as well as dance music at Beechwood, along with the revival of traditional Appalachian square dancing and clogging in Northeast Tennessee.

SELEUCID-PARTHIAN FIGURINES FROM BABYLON IN THE NIPPUR COLLECTION: IMPLICATIONS OF MISATTRIBUTION AND RE-EVALUATING THE CORPUS

Iraq ◽  
2016 ◽  
Vol 78 ◽  
pp. 49-77 ◽  
Author(s):  
Stephanie M. Langin-Hooper
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Cross Cultural ◽  
University Of Pennsylvania ◽  
Late Nineteenth Century ◽  
Cultural Interaction ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
The University

This article formally documents an important correction to the provenance attribution of three reclining female figurines from Babylon that reside in the Nippur collection at the University of Pennsylvania Museum and were published with that corpus. Few scholars have noticed the misattribution of these figurines, and the problem has not been formally documented for scholarship. Through historiographical analysis of the late nineteenth century Nippur Expeditions and early twentieth century cataloguing and publication of the Nippur corpus, this article reconstructs how and why these three reclining figurines have been continually misassociated with Nippur, and traces the continued impact of this confusion on scholarship's understanding of the Nippur figurine tradition. Most critically, the publication of these three figurines as Nippur objects lent credence to the testimony of an antiquities dealer who sold an additional eight reclining figurines “from Nippur” to the Harvard Semitic Museum; these figurines continue to be regarded as Nippur objects. This article casts doubt upon that provenance. The figurine tradition of Seleucid-Parthian Nippur is reevaluated in light of the absence of securely-provenanced reclining female figurines at that site. An art historical evaluation of these figurines is undertaken, which links these figurines to the general use of hybrid Greek-Babylonian imagery in Seleucid-Parthian figurines, and connects the specific motif of the reclining figure to Greek banqueting imagery. It is proposed that the Nippur community's lack of interest in reclining female figurines can be correlated with a disinterest in pan-Hellenistic ceramic tablewares; together, these lacunae indicate Nippur's non-participation in negotiated Greek-Babylonian banqueting practices. These differences in cross-cultural interaction between Nippur and the neighboring Babylonian communities have not been fully recognized nor explored, due to scholarship's misunderstanding of the use of reclining female figurines at that site. It is this confusion that this article attempts to resolve.

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