scholarly journals Ben Ammi’s Adaptation of Veganism in the Theology of the African Hebrew Israelites of Jerusalem

2021 ◽  
pp. 1-29
Author(s):  
Michael T. Miller
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Garden Of Eden ◽  
Jewish Thought ◽  
New Development ◽  
The World ◽  
Exclusive Property ◽  
Core Part

Abstract This article will look at the ideology of veganism in the AHIJ. Since the early 1970s their diet has been a core part of their ideology and of their message to the world. Acknowledging that a black/Jewish meat-free diet is far from the exclusive property of the group, let alone a new development on their part, I will argue that it is an expression of the syncretic “bricoleur” nature of Black Israelite thought (Dorman 2013), reflecting, drawing on, and transforming traditions existing in both African American and Jewish thought in and before the twentieth century – principally articulated as a concern for health in the former and a messianic return to the peaceful Edenic existence in the latter. However, Ben Ammi skillfully intertwines it into their theology by arguing that a return to the veganism of the Garden of Eden is part of the community’s redemption of humanity from primordial sin and ultimate overcoming of the curse of death.

First a Trickle, Then a Flood: Jazz Musicians Perform in China from All Over

Jazz in China ◽  
2018 ◽  
pp. 102-117
Author(s):  
Eugene Marlow
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Direct Impact ◽  
World Community ◽  
The World ◽  
In The Beginning ◽  
Transportation Technologies

This chapter discusses the arrival of foreign jazz musicians in China. Mao's demise in 1976, which led to the reemergence of China as part of the world community in the last quarter of the twentieth century, together with the influence of electronic and transportation technologies in the second half of the twentieth century, had a direct impact on the rejuvenation of jazz in China, especially in Shanghai and Beijing. It provided opportunities for jazz musicians from all over the world to perform in China. The locus of this activity, at least in the beginning, was Shanghai and the opportunity fell to African American bassist and horn player Willie Ruff.

Her Standing in Poughkeepsie

2017 ◽  
Author(s):  
Jacqueline A. McLeod
Keyword(s):  
New York ◽  
Twentieth Century ◽  
African American ◽  
Coming Of Age ◽  
Law School ◽  
Special Relationship ◽  
Wellesley College ◽  
Vassar College ◽  
American Students ◽  
The World

This chapter traces the Bolins' lineage and legacy and Jane Bolin's place in it as a biracial child coming of age in early twentieth-century Poughkeepsie, New York. It examines her relationship with her siblings—Anna, Ivy, and Gaius Jr.—and with her father, who became the family's primary caregiver upon their mother's death. This very special relationship between father and youngest daughter was tested and strengthened as Jane Bolin ventured out into the world beyond Poughkeepsie for college and law school. Jane chose to attend Wellesley College in Massachusetts over Vassar College; she could not have attended Vassar either way since the school's unofficial policies barred the admission of African American students.

The Harlem Renaissance

2018 ◽  
Author(s):  
Catrina Hill ◽  
Sophie Meridien ◽  
Keith Holt ◽  
Daniel Boyle ◽  
Paul Ardoin
Keyword(s):  
New York ◽  
Twentieth Century ◽  
African American ◽  
African Americans ◽  
Harlem Renaissance ◽  
African American Community ◽  
The World ◽  
Philosophical Questions ◽  
Breaking Work ◽  
The Harlem Renaissance

The Harlem Renaissance was a flourishing of artistic, intellectual, musical, and literary accomplishments by African Americans between the World Wars. The movement took its name from Harlem, a neighborhood on the northern section of Manhattan Island. Harlem became the de facto center of the African American community in New York City, and many of the most important figures of the Renaissance called it home. During the Renaissance, intellectuals published ground-breaking work that explored philosophical questions and political possibilities for African Americans that would be explored throughout the twentieth century.

Introduction

2020 ◽  
pp. 1-12
Author(s):  
Khary Oronde Polk
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Sexual Difference ◽  
Citizenship Rights ◽  
Unique Role ◽  
Military Conscription ◽  
The World ◽  
Definition Of ◽  
The Military ◽  
Key Terms

This introduction provides a framework for considering America’s military conscription of gender, racial, and sexual difference in the early to mid-twentieth century, and the unique role Black military workers played in the extension of U.S. empire. Beginning with the definition of militarism as conceived by Alfred Vagts, the author makes an appeal for both conservative and progressive scholars to focus on the study of the military. Immunity and contagion are introduced as key terms used to analyze the movement of African American soldiers around the world, and to show how their quests for citizenship rights was burdened by antiblack racism. A chapter breakdown demonstrates how race, nation, masculinity, and sexuality are important subjects in the archive of American militarism, and argues that a new chapter of African American life was brought into being through the imperial conscription of racial, gender, and sexual difference.

Rabbit's Blues

2019 ◽  
Author(s):  
Con Chapman
Keyword(s):  
Twentieth Century ◽  
African American ◽  
John Coltrane ◽  
The World ◽  
American Tradition ◽  
Jazz History ◽  
Romantic Music ◽  
African American Tradition ◽  
Rock N Roll

The book explores the career of Johnny Hodges, at one time one of the most famous saxophone players in the world. He was closely identified with Duke Ellington’s orchestra, playing with that seminal jazz group for nearly four decades, with only a four-year break in the early 1950s, when he led a band of his own. Just a few years after his death, however, he would be largely forgotten and his style considered passé. The book details why Hodges deserves reconsideration: he helped codify the vocabulary and syntax of his instrument in a jazz context, drawing inspiration from Sidney Bechet and Louis Armstrong, but adding stylistic touches of his own and keeping the Ellington band anchored in the African American tradition of the blues. He recorded with the giants of his day—Billie Holiday, Lionel Hampton, Earl Hines, Teddy Wilson, and John Coltrane. With Wild Bill Davis, he invented the organ-sax combo. Hodges was one of Ellington’s leading composing lieutenants, serving as an inexhaustible source of riffs that Ellington frequently fashioned into longer works. He may even have a partial claim to the first rock ‘n’ roll song, as his group’s “Castle Rock” was recorded the same day as the earliest recording date for “Rocket 88.” Johnny Hodges’s story is an atypical jazz history; a taciturn and undemonstrative man who lived a quiet life, never succumbing to drink or drugs, he nonetheless created some of the most romantic music of the twentieth century.

Development of the Jewish religious movement "Khabad" in Ukraine in the 20's of the twentieth century

2001 ◽  
pp. 85-90
Author(s):  
O. V. Kozerod
Keyword(s):  
Twentieth Century ◽  
Religious Movement ◽  
Important Research ◽  
The World ◽  
Research Problems

The development of the Jewish religious movement "Khabad" and its organizations in the first quarter of the twentieth century - one of the important research problems, which is still practically not considered in the domestic Judaica. At the same time, this problem is relevant in connection with the fact that the religious movement "Khabad" during the twentieth century became the most widespread and influential area of Judaism in Ukraine and throughout the world.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Modernism, Empiricism, and Rationalism

2016 ◽  
Vol 46 (1) ◽  
pp. 38-47
Author(s):  
Geoffrey Squires
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Modern Poetry ◽  
Philosophical Perspective ◽  
Irish Poetry ◽  
Dimensional Spectrum ◽  
Culture History ◽  
The World ◽  
The Impact ◽  
Rule Out

Modernism is usually defined historically as the composite movement at the beginning of the twentieth century which led to a radical break with what had gone before in literature and the other arts. Given the problems of the continuing use of the concept to cover subsequent writing, this essay proposes an alternative, philosophical perspective which explores the impact of rationalism (what we bring to the world) on the prevailing empiricism (what we take from the world) of modern poetry, which leads to a concern with consciousness rather than experience. This in turn involves a re-conceptualisation of the lyric or narrative I, of language itself as a phenomenon, and of other poetic themes such as nature, culture, history, and art. Against the background of the dominant empiricism of modern Irish poetry as presented in Crotty's anthology, the essay explores these ideas in terms of a small number of poets who may be considered modernist in various ways. This does not rule out modernist elements in some other poets and the initial distinction between a poetics of experience and one of consciousness is better seen as a multi-dimensional spectrum that requires further, more detailed analysis than is possible here.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

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