scholarly journals In a Melting Pot of Autobiography: Pickthall’s With the Turk in Wartime and the Cause of Islam

2021 ◽  
Vol 5 (4) ◽  
pp. 2-16
Author(s):  
Ebtisam Ali Sadiq
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Literary History ◽  
English Literature ◽  
Literature Analysis ◽  
Melting Pot ◽  
Near Eastern ◽  
The Past ◽  
History Of ◽  
To Receive

Marmaduke Pickthall, a half-forgotten British novelist of the early twentieth century, has come back to the spotlight over the past few years. His Near Eastern novels and short stories have started to receive attention in contemporary scholarship but not his two autobiographies. This essay aims at tackling the more neglected piece of the two, With the Turk in Wartime, that deserves attention because of its intricate amalgamation of several features of the genre of autobiography as manifested across its history within the tradition of English literature. Analysis finds that Pickthall’s autobiography has some Romantic, Victorian, and Modern elements as well as some old characteristics of the genre elaborately interwoven into its structure. The study also traces the use that Pickthall makes of this unique autobiography and how the commingling of diverse elements allows him to turn a usually subjective genre into a public cause and dedicate it to the service of Islam. This essay highlights both the diversity that the literary history of the genre lends to Pickthall’s autobiography and the socio-political service it renders to the faith that the author has long esteemed and will ultimately convert to not long after writing this autobiography.

scholarly journals In a Melting Pot of Autobiography: Pickthall’s With the Turk in Wartime and the Cause of Islam

2021 ◽  
Author(s):  
Ebtisam Ali Sadiq
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Literary History ◽  
English Literature ◽  
Literature Analysis ◽  
Melting Pot ◽  
Near Eastern ◽  
The Past ◽  
History Of ◽  
To Receive

Marmaduke Pickthall, a half-forgotten British novelist of the early twentieth century, has come back to the spotlight over the past few years. His Near Eastern novels and short stories have started to receive attention in contemporary scholarship but not his two autobiographies. This essay aims at tackling the more neglected piece of the two, With the Turk in Wartime, that deserves attention because of its intricate amalgamation of several features of the genre of autobiography as manifested across its history within the tradition of English literature. Analysis finds that Pickthall’s autobiography has some Romantic, Victorian, and Modern elements as well as some old characteristics of the genre elaborately interwoven into its structure. The study also traces the use that Pickthall makes of this unique autobiography and how the commingling of diverse elements allows him to turn a usually subjective genre into a public cause and dedicate it to the service of Islam. This essay highlights both the diversity that the literary history of the genre lends to Pickthall’s autobiography and the socio-political service it renders to the faith that the author has long esteemed and will ultimately convert to not long after writing this autobiography.

The Southern Levant and the Ancient Near Eastern Canon

2020 ◽  
pp. 45-65
Author(s):  
Rachel Hallote
Keyword(s):  
Twentieth Century ◽  
Small Scale ◽  
Past Century ◽  
Southern Levant ◽  
Near Eastern ◽  
The Past ◽  
The Bible ◽  
Biblical Narratives ◽  
History Of ◽  
Late Nineteenth

When the artistic canon of the Southern Levant coalesced in the late nineteenth and early twentieth centuries, scholars thought of the region, then Ottoman Palestine, as the locus of the Bible. The small-scale nature of the archaeological finds as well as their relative dearth reinforced a reliance on biblical narratives as a framework for understanding the culture of the region. Moreover, early scholarship did not recognize the complex regionalism of the Southern Levant or the diversity of its populations. Consequently, the artistic canon that developed did not represent the historical and archaeological realities of the region. This chapter examines the history of how the artistic canon of the Southern Levant formed over the past century of scholarship, why various scholars of the early and middle twentieth century included particular items in the canon, and why these now entrenched representations may or may not be helpful to the discipline’s future.

Introduction

2021 ◽  
pp. 1-19
Author(s):  
Julianne Werlin
Keyword(s):  
Seventeenth Century ◽  
Early Modern ◽  
Literary History ◽  
English Literature ◽  
Historical Analysis ◽  
History Of The Book ◽  
The Past ◽  
History Of ◽  
Material History ◽  
Century Literature

This book is an experiment in conjoining two approaches to early modern English literature which, despite a seemingly obvious affinity, are rarely pursued together: the material history of texts and Marxist historical analysis. No trend in scholarship on sixteenth- and seventeenth-century literature in the past three decades has been more important than the rise of research on media, not confined to the history of the book or even manuscript, but encompassing communications as a whole. A wide variety of phenomena, including but by no means limited to methods of papermaking and bookbinding, readers’ habits of annotation, and the development of the postal system, have been shown to be relevant to early modern textual and literary history....

scholarly journals The Classroom in the Canon: T.S. Eliot's Modern English Literature Extension Course for Working People and The Sacred Wood

PMLA ◽  
2018 ◽  
Vol 133 (2) ◽  
pp. 264-281
Author(s):  
Rachel Sagner Buurma ◽  
Laura Heffernan
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Literary History ◽  
English Literature ◽  
Literary Study ◽  
Elite Universities ◽  
Working People ◽  
History Of ◽  
Canonical Literature ◽  
School Movement

Literary critics have long imagined that T. S. Eliot's The Sacred Wood (1920) shaped the canon and methods of countless twentieth-century classrooms. This essay turns instead to the classroom that made The Sacred Wood: the Modern English Literature extension school tutorial that Eliot taught to working-class adults between 1916 and 1919. Contextualizing Eliot's tutorial within the extension school movement shows how the ethos and practices of the Workers' Educational Association shaped his teaching. Over the course of three years, Eliot and his students reimagined canonical literature as writing by working poets for working people—a model of literary history that fully informed his canon reformation in The Sacred Wood. This example demonstrates how attention to teaching changes the history of English literary study. It further reveals how all kinds of institutions, not just elite universities, have shaped the discipline's methods and canons.

scholarly journals Novo do velho: a poesia experimental dos poetas ensaístas Haroldo e Augusto de Campos

2015 ◽  
Vol 8 (1) ◽  
pp. 146-161
Author(s):  
Carolina Tomasi
Keyword(s):  
Twentieth Century ◽  
Literary History ◽  
Brazilian Literature ◽  
Face To Face ◽  
The Past ◽  
Evolutionary Line ◽  
Visual Expression ◽  
History Of ◽  
Recurrent Theme

RESUMO: Discutir a poesia aguda de expressão visual e sonora, que partilha o sentido de renovar o antigo, mas não se desgarra do velho, ou de criar o novo, voltando à origem, é um dos motivos principais deste artigo. Mais do que barroquismo no século XX ou ruptura em relação ao passado, investigamos que os poetas Haroldo de Campos, Augusto de Campos e Affonso Ávila compartilham procedimentos de agudeza que se diferenciam por participarem de tempos discursivos diferentes, o discurso de barroco era um e o discurso do chamado “neobarroco” é outro. A partir de então, a vanguarda já não se faz como categoria operacional, mas apenas como um ponto na linha evolutiva. Temos, assim, um Haroldo de Campos que interroga a história literária de Antonio Candido, propondo-a não como formação, mas como transformação; menos como processo que se forma e mais como processo gerundivo, em que sobressaiam os momentos de ruptura, entendendo a tradição como um procedimento dialético, que coloca face a face diacronia e sincronia. Para exemplificação das reflexões, tomamos como base os poemas “Oportet”, de Haroldo de Campos, e “Novo novelo”, de Augusto de Campos, para discutir uma questão recorrente na literatura: tradição e ruptura, considerando questionável o rótulo “neobarroco” na literatura brasileira. PALAVRAS-CHAVE: Literatura brasileira. Poesia experimentalista. Barroco. Neobarroco. Semiótica tensiva. ABSTRACT: To discuss sharp poetry of sound and visual expression, which shares the sense of renewing the old, but not strays from the old, or create the new, returning to the origin, is one of the main reasons of this article. More than baroque style in the twentieth century or break with the past, we investigated that the poets Haroldo de Campos, Augusto de Campos and Affonso Ávila share sharpness procedures that differ by participating in different discursive tenses, the baroque speech is one thing and the so called “new baroque” speech is another thing. Since then, the vanguard is no longer an operational category, but a point in the evolutionary line. We have thus a Haroldo de Campos that questions the literary history of Antonio Candido, proposing it not as a training but a transformation; less as a process that forms and more like a gerundive process, in which stand out the moments of rupture, understanding the tradition as a dialectical procedure, which puts diachrony and synchrony face to face. For exemplification of reflections we based on the poems “Oportet" by Haroldo de Campos and “Novo Novelo" by Augusto de Campos to discuss a recurrent theme in the literature: tradition and rupture, considering questionable the label "neo-baroque" in Brazilian literature.KEYWORDS: Brazilian Literature. Experimentalist poetry. Baroque. Neo-Baroque. Tensive semiotic.

EPISTEMOLOGY OF TONE: AN OBITUARY FOR JULIEN JALÂL ED-DINE WEISS

Tempo ◽  
2017 ◽  
Vol 71 (281) ◽  
pp. 71-79
Author(s):  
Stefan Pohlit
Keyword(s):  
Twentieth Century ◽  
Cross Cultural ◽  
Theory And Practice ◽  
Just Intonation ◽  
Modal System ◽  
Helpful Tool ◽  
Near Eastern ◽  
Avant Garde ◽  
History Of ◽  
Major Discrepancy

AbstractDuring the 1980s, Julien Jalâl Ed-Dine Weiss, founder of the Al-Kindi ensemble of Aleppo, invented a qānūn in just intonation with which he attempted to solve a major discrepancy between the theory and practice of maqām-scales. Weiss objected to the introduction of Western standards, observing that they distort the significance of interval ratios and prevent a comparative understanding of the modal system as a transnational phenomenon. In the twentieth century, the implementation of equal-semitone temperament emerged simultaneously with a notable invasion of sociological criteria into musical inquiry. The polarity observed between westernisation and tradition can be seen most visibly in the present search for identity amongst Middle- and Near-Eastern musicians, but this schismogenic process can also be observed in the history of the Western avant-garde, where microtonal explorations have been halted in favour of extra-musical conceptuality. While cross-cultural musicians are faced with a new climate of distrust, it seems most likely that the principles that draw us apart may originate in the very patterns of thought in which our notion of culture operates. Weiss's tuning system may serve as a helpful tool to foster a new and universal epistemology of tone, bridging and transcending the apparent contradictions between the two spheres.

Madhouse

2021 ◽  
Vol 15 (3) ◽  
pp. 347-363
Author(s):  
Elizabeth Tilley ◽  
Paul Christian ◽  
Susan Ledger ◽  
Jan Walmsley
Keyword(s):  
Twentieth Century ◽  
Learning Disability ◽  
Social History ◽  
Learning Difficulties ◽  
Historical Record ◽  
The Past ◽  
History Of ◽  
Immersive Theatre ◽  
Disability Research ◽  
History Of Institutions

Until the very end of the twentieth century the history of learning difficulties was subsumed into other histories, of psychiatry, of special education and, indeed, of disability. Initiatives to enable people with learning difficulties and their families to record their own histories and contribute to the historical record are both recent and powerful. Much of this work has been led or supported by The Open University’s Social History of Learning Disability Research (SHLD) group and its commitment to developing “inclusive history.” The article tells the story of the Madhouse Project in which actors with learning difficulties, stimulated by the story of historian activist Mabel Cooper and supported by the SHLD group, learned about and then offered their own interpretations of that history, including its present-day resonances. Through a museum exhibition they curated, and through an immersive theatre performance, the actors used the history of institutions to alert a wider public to the abuses of the past, and the continuing marginalization and exclusion of people with learning difficulties. This is an outstanding example of history’s potential to stimulate activism.

Modernist Dante

2021 ◽  
pp. 633-650
Author(s):  
Daniela Caselli
Keyword(s):  
Twentieth Century ◽  
James Joyce ◽  
Virginia Woolf ◽  
Ezra Pound ◽  
First Century ◽  
Djuna Barnes ◽  
Dorothy Richardson ◽  
Anglophone Literature ◽  
The Past ◽  
History Of

This chapter traces a history of Dante’s reception in anglophone literature between the 1870s and the 1950s. It acknowledges his importance in Ezra Pound, T.S. Eliot, and James Joyce, but engages more closely with Samuel Beckett, Djuna Barnes, and Virginia Woolf. It shows that the modernist Dante that emerges from these authors’ work is both a formal and political one: recruited as an anti-authoritarian voice from the past and seen anew from feminist and queer perspectives, this is not a twenty-first century Dante forced against his will to virtue-signal, however; on the contrary, this is a Dante anachronistically familiar with key ‘vices’ of twentieth-century authors, readers and commentators. Focusing on sullenness, resistance, and fatigue, the chapter argues for a new understanding of modernist experiments with Dante’s political and formal complexity that refuse to use him as a ‘code or a weapon […] to crush someone’, as Dorothy Richardson put it.

A short history of Polish formations protecting the governing bodies of the state

2021 ◽  
Vol 1 (38) ◽  
pp. 75-84
Author(s):  
Aneta Drożdż
Keyword(s):  
Twentieth Century ◽  
The State ◽  
Short History ◽  
Control Subsystem ◽  
State Security ◽  
The Past ◽  
Rules And Principles ◽  
History Of ◽  
Important People ◽  
The Moment

This paper presents a short history of Polish formations protecting the governing bodies of the state, starting from the moment Poland regained independence at the end of the twentieth century. The considerations are presented against the rules and principles of the functioning of the state security system, with particular emphasis on the control subsystem. This paper demonstrates the need to research attitudes to safety in the past, in order to develop and apply effective contemporary solutions. The considerations contained in it also concern the existing threats to the management of state organs. They may contribute to further discussions on the purpose and rules of operation of the formation which is supposed to protect the most important people in the state.

Redefining Censorship

2018 ◽  
Vol 51 (2) ◽  
pp. 134-142
Author(s):  
Esther B. Schupak
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Emotional Valence ◽  
The United States ◽  
Educational Choice ◽  
Merchant Of Venice ◽  
The Past ◽  
The Merchant Of Venice ◽  
Film Images ◽  
History Of

Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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