Belisarius in the Shadow Theatre: The Private Calvary of a Legendary General

2017 ◽  
Author(s):  
Anna Stavrakopoulou
Keyword(s):  
Twentieth Century ◽  
Sixth Century ◽  
Historical Sources ◽  
Military Career ◽  
Art Form ◽  
Battle Scenes

The favourite character of the Greek shadow puppeteer, Vassilaros (1899–1979), one of the most productive and best-known artists of his generation, was the sixth century Byzantine general Belisarius (c. 505–565). Vassilaros created a number of variations of plays, in which Justinian’s general was the protagonist of a love-and-betrayal drama, against the historical backdrop of a most successful military career. According to historical sources Belisarius was disfavoured on several occasions by Justinian, but restored to power thanks to the support of Empress Theodora, who was a friend of Belisarius’ wife, Antonina. This riveting story has inspired a number of plays, novels and operas, long before its twentieth-century debut in the shadow theatre. In Vassilaros’ play, Belisarius’ story is adapted to the conventions of this art form to involve the trickster Karaghiozis, who is the leading member of the shadow theatre cast. The dramatic circumstances of Belisarius’ life are spiced up with comic episodes involving Karaghiozis, who is always after food and money. At the height of battle scenes, Karaghiozis stuffs his pockets with meatballs, to appease his never-ending hunger, even at the threshold of death.

Shaping Jazz

2013 ◽  
Author(s):  
Damon J. Phillips
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Recording Industry ◽  
Early Twentieth Century ◽  
Art Form ◽  
Long Run

There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs—and not others—get re-recorded by many musicians? This book answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets—in particular, organizations and geography—in the development of early twentieth-century jazz. The book considers why places like New York played more important roles as engines of diffusion than as the sources of standards. It demonstrates why and when certain geographical references in tune and group titles were considered more desirable. It also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. The book shows the key influences of firms in the recording industry, including how record labels and their executives affected what music was recorded, and why major companies would re-release recordings under artistic pseudonyms. It indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, the book offers a unique look at the origins of a groundbreaking art form.

A Historiographical Interlude

2017 ◽  
Author(s):  
Jonathan D. Teubner
Keyword(s):  
Twentieth Century ◽  
Sixth Century ◽  
Early Twentieth Century ◽  
Late Nineteenth

The ‘Historiographical Interlude’ presents a brief overview of the cultural, social, and political changes that occur between Augustine’s death in 430 CE and Boethius’ earliest theological writings (c.501 CE). When Augustine, Boethius, and Benedict are treated together in one unified analysis, several historiographical challenges emerge. This Interlude addresses several of these challenges and argues that trends within late nineteenth- and early twentieth-century scholarship established some unfounded interpretive biases. In particular, this section will discuss the contributions of Adolf von Harnack and Henri Irénée Marrou, focusing on how they contributed, in diverse ways, to the neglect of sixth-century Italy as a significant geographical site in the development of the Augustinian tradition.

Alien Internment in John Galsworthy’s ‘The Bright Side’ and ‘The Dog It was that Died’

2021 ◽  
Vol 30 (1) ◽  
pp. 45-61
Author(s):  
Jill Felicity Durey
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Human Nature ◽  
Second World War ◽  
World War ◽  
Historical Sources ◽  
Internment Camp ◽  
Bright Side ◽  
Second World ◽  
John Galsworthy

This article illuminates two short stories by John Galsworthy through examining them with the help of his diaries and letters, a handful of unpublished letters by his nephew from an internment camp and secondary historical sources. It argues that the stories, when read in conjunction with these sources, are highly revealing about human nature during Second World War and also about Galsworthy’s prescient fears concerning a second twentieth-century world war, which he did not live to see.

scholarly journals Māori Urban Migrations and Identities, ‘Ko Ngā Iwi Nuku Whenua’: A study of Urbanisation in the Wellington Region during the Twentieth Century

2021 ◽  
Author(s):  
◽  
Erin Keenan
Keyword(s):  
Twentieth Century ◽  
Urban Areas ◽  
Urban Migration ◽  
World War ◽  
Historical Sources ◽  
The Past ◽  
Complex Interactions ◽  
The Subject ◽  
The Many ◽  
Migration Experiences

<p>Māori urbanisation and urban migrations have been the subject of much discussion and research, especially following World War Two when Māori individuals, whānau and communities increasingly became residents of towns and cities that were overwhelmingly Pākehā populated. However, Māori urbanisation experiences and urban migrations are difficult topics to address because kaumātua are reluctant to discuss ‘urban Māori’, especially considering its implications for Māori identities. The original contribution this thesis makes to histories of Māori urban migrations is that it explores these and other understandings of urbanisations to discover some of their historical influences. By discussing urbanisations directly with kaumātua and exploring historical sources of Māori living in, and moving to, the urban spaces of Wellington and the Hutt Valley through the twentieth century, this thesis is a ‘meeting place’ for a range of perspectives on the meanings of urbanisations from the past and the present. Although urbanisation was an incredible time of material change for the individuals and whānau who chose to move into cities such as Wellington, the histories of urban migration experiences exist within a scope of Māori and iwi worldviews that gave rise to multiple experiences and understandings of urbanisations. The Wellington region is used to show that Māori in towns and cities used Māori social and cultural forms in urban areas so that they could, through the many challenges of becoming urban-dwelling, ensure the persistence of their Māoritanga. Urbanisations also allowed Māori to both use traditional identities in urban areas, as well as develop new relationships modelled on kinship. The Ngāti Pōneke community is used as an example of the complex interactions between these identities and how many Māori became active residents in but not conceptually ‘of’ cities. As a result, the multiple and layered Māori identities that permeate throughout Māori experiences of the present and the past are important considerations in approaching and discussing urbanisations. Urban Māori communities have emphasised the significance of varied and layered Māori identities, and this became particularly pronounced through the Māori urban migrations of the twentieth century.</p>

The Narrative, Its Components and Its ‘Novelisation’

2020 ◽  
pp. 152-188
Author(s):  
Marlé Hammond
Keyword(s):  
Twentieth Century ◽  
Mikhail Bakhtin ◽  
The Novel ◽  
Georg Lukacs ◽  
Repeated Events ◽  
History Of ◽  
Battle Scenes ◽  
Georg Lukács

This chapter represents a narratological breakdown of the tale. Drawing on the theory of Seymour Chatman, Mikhail Bakhtin and Georg Lukács, I discuss the tale and its relationship to the ʿUdhrī love tale, the popular epic and the novel in terms of its discourse, setting, characters and events. I argue that the tale has a plot with a ‘homophonic’ texture, whereby a ‘melody’ of singular events (such as the abduction, torture and rescue of Laylā) overlays a ‘drone’ of repeated events (namely battle scenes). I conclude with a comparison of the tale with its twentieth-century novelistic adaptation and a discussion of what the comparison reveals about the pre-history of the Arabic novel.

Enslavement and Everyday Life: Living with Slave Raiding in the North-Eastern Mandara Mountains of Cameroon

2011 ◽  
Author(s):  
Scott MacEachern
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Historical Sources ◽  
Social Proximity ◽  
Archaeological Data ◽  
The Past ◽  
The North ◽  
North Eastern ◽  
Economic Process

The northern Mandara Mountains of Cameroon have been a focus of slave raiding for the past five centuries, according to historical sources. Some captives from the area were enslaved locally, primarily in Wandala and Fulbe communities, while others were exported to Sahelian polities or further abroad. This chapter examines ethnohistorical and archaeological data on nineteenth- and twentieth-century slave raiding, derived from research in montagnard communities along the north-eastern Mandara Mountains of Cameroon. Enslavement and slave raiding existed within larger structures of day-to-day practice in the region, and were closely tied to ideas about sociality, social proximity and violence. Through the mid-1980s at least, enslavement in the region was understood as a still-relevant political and economic process, with its chief material consequence the intensely domesticated Mandara landscape.

The Whites Got the Best

2018 ◽  
pp. 81-120
Author(s):  
John M. Coggeshall
Keyword(s):  
Twentieth Century ◽  
African Americans ◽  
Jim Crow ◽  
Community Identity ◽  
Baptist Church ◽  
Historical Sources ◽  
Economic Opportunities ◽  
Early Twentieth Century ◽  
The World

This chapter presents the story of Liberia during the early twentieth century, through the Depression and the world wars. As the nation’s economy changes, African Americans continue to abandon the region for better economic opportunities as they are also forced out by restrictive Jim Crow segregation and racialized attacks. Both Soapstone Baptist Church and Soapstone School continue, critical anchors for community identity. Some residents return to care for aging relatives. The story of Liberia is presented through the memories of elderly residents and some local historical sources, including obituaries.

Cut and paste

2018 ◽  
pp. 25-65
Author(s):  
Anna Dahlgren
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Historical Perspective ◽  
Avant Garde ◽  
Victorian Britain ◽  
Art Form ◽  
Close Study ◽  
History Of ◽  
Illustrated Press

Chapter 1 considers the mechanisms of breaks and continuities in the history of photocollage with regard to gender, genre and locations of display. Collage is commonly celebrated as a twentieth-century art form invented by Dada artists in the 1910s. Yet there was already a vibrant culture of making photocollages in Victorian Britain. From an art historical perspective this can be interpreted as an expression of typical modernist amnesia. The default stance of the early twentieth century’s avant-garde was to be radically, ground-breakingly new and different from any historical precursors. However, there is, when turning to the illustrated press, also a trajectory of continuity and withholding of traditions in the history of photocollage. This chapter has two parts. The first includes a critical investigation of the writings on the history of photocollage between the 1970s and 2010s, focusing on the arguments and rationales of forgetting and retrieving those nineteenth-century forerunners. It includes examples of amnesia and recognition and revaluation. The second is a close study of a number of images that appear in Victorian albums produced between 1870 and 1900 and their contemporary counterparts in the visual culture of illustrated journals and books.

Towards a History of Biology in the Twentieth Century: Directed Autobiographies as Historical Sources

1988 ◽  
Vol 21 (1) ◽  
pp. 77-89 ◽  
Author(s):  
Nicholas Russell
Keyword(s):  
Biological Sciences ◽  
Twentieth Century ◽  
History Of Biology ◽  
Physical Sciences ◽  
Historical Sources ◽  
Darwinian Revolution ◽  
Significant Development ◽  
Relative Neglect ◽  
History Of ◽  
Scientists And Engineers

Interest in contemporary scientific history has concentrated on physics and engineering and its most obvious growth has been in America. By contrast, there has been a relative neglect of the biological sciences, especially in Great Britain. This concern with contemporary scientific history has been an autonomous growth among physical scientists and engineers. There has not yet been any significant development of an historical dimension among modern biologists. Most of those who do study the history of biology are concerned with natural history in the nineteenth century and before, with the largest group concentrating on the Darwinian Revolution. Students of the history of twentieth century biology are just beginning to emerge, but may find themselves uniquely disadvantaged compared with observers of the sciences from earlier centuries, or even of the physical sciences and engineering in the twentieth century, unless certain things are done rather quickly.

scholarly journals The Unification of the Senses: Intermediality in Video Art-Music

2011 ◽  
Vol 136 (2) ◽  
pp. 399-428 ◽  
Author(s):  
Holly Rogers
Keyword(s):  
Twentieth Century ◽  
Art Music ◽  
Video Art ◽  
Video Technology ◽  
Art Form ◽  
The Senses ◽  
To Come ◽  
Nam June Paik

ABSTRACTThe electromagnetic basis of video technology allowed sound and image to be recorded simultaneously: as a result, composers could visualize their music and artists could sound their images. Many believed that such intermedial audio-visuality signalled a brand-new art form that was free from lineage. Using Nam June Paik as an example, this article suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. The intermedial capabilities of video technology allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Understood in this way, music and art in the twentieth century cannot coherently be discussed as individual disciplines, but rather encourage a more lateral history – or spatial sensibility – that moves fluidly through the space between them.

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