scholarly journals Artistic Philanthropy and Women’s Emancipation in Early Twentieth-Century Italy, in the Life and the Work of Romeyne Robert and Carolina Amar

Author(s):  
Ruggero Ranieri ◽  
Maria Luciana Buseghin
2021 ◽  
Vol 98 (4) ◽  
pp. 375-394
Author(s):  
DEBORAH MADDEN

For anarchists and leftists in pre-Civil War Spain, prostitution epitomized women’s sexual and economic subordination under patriarchal, capitalist structures. Though both anarchist and Marxist discourses conflated gender and class equality, believing women’s emancipation to be an organic consequence of social revolution, the lack of focus on female-specific concerns in anti-capitalist ideations has attracted criticism from feminist scholars. Grounding an analysis within these theoretical and historical contexts, this article interrogates how Ángela Graupera, a little-known Catalan activist and writer, used the trope of prostitution to examine these issues in her novellas, published as part of the La Novela Libre and La Novela Ideal series that were printed by the anarchist magazine La Revista Blanca in the 1920s and 1930s. Through a close reading of selected texts, the examination explores how prostitution functions as a metaphor for female subordination, facilitating a critique of androcentric socio-economic discourses and hegemonic sexual politics in early twentieth-century Spain.


Cahiers ERTA ◽  
2020 ◽  
pp. 10-25
Author(s):  
Claire Salles

Words made of hair. Women’s reappropriations of writing through embroidery Contemporary pieces of embroidery showing words made of human hair open up reflections upon how women artists challenge the traditional partition between the needle (for women) and the pen (for men). The article offers a synthesis on the historical construction of this gendered assignation of needlework to women, from Renaissance to the early twentieth century. The idea of physical and moral coercion appears in the feminine history of needlework as well as in the history of the access of young women to reading and writing. Finally, if embroidery was for a long time excluded from metaphorical descriptions of literature, unlike weaving, the article ends up showing how the crossroads between writing and embroidery can be seen as a part of women’s emancipation.


Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.


2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.


2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.


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