Harold Monro, Poetry Anthologies and the Rhetoric of Textual Materiality

2017 ◽  
Author(s):  
Patrick Collier
Keyword(s):  
Complex System ◽  
Twentieth Century ◽  
Everyday Life ◽  
Modern Poetry ◽  
Literary Value ◽  
English Verse ◽  
Century Poetry ◽  
Textual Politics

This chapter meditates upon the role of the poetry anthology and its claims on literary value at the turn of the twentieth century. By sorting the output of poets, the anthology might seem to stabilize literary value; but like all print artefacts in the period, the anthology was overproduced, and therefore could also be seen as positing multiple, competing canons. The anthology form was in flux in these years as well, with such familiar conventions as tables of contents and the grouping of poems by poet not having emerged as norms. In this context, the textual materiality of anthologies became a complex system for intervening in debates about value. The chapter revisits the most popular anthologies of the era—Palgrave’s Golden Treasury and the Oxford Book of English Verse—to sketch out the emerging codes of the anthology form. Poet and publisher Harold Monro, the chapter argues, pursued a more egalitarian textual politics than these popular anthologies, particularly his underappreciated 1929 anthology, Twentieth Century Poetry. The chapter reads the content and the metatexts of Twentieth Century Poetry as asserting a catholic vision of modern poetry as vital to everyday life.

On Metaphysics and the Political: A Polemics of Reading Baudelaire in the 1930s

2019 ◽  
Vol 58 (2) ◽  
pp. 249-259
Author(s):  
Joseph Acquisto
Keyword(s):  
Twentieth Century ◽  
Political Crisis ◽  
The Political ◽  
Modern Poetry ◽  
Progressive Politics ◽  
The World ◽  
Relationship Of ◽  
The Relationship ◽  
Insight Into

This essay examines a polemic between two Baudelaire critics of the 1930s, Jean Cassou and Benjamin Fondane, which centered on the relationship of poetry to progressive politics and metaphysics. I argue that a return to Baudelaire's poetry can yield insight into what seems like an impasse in Cassou and Fondane. Baudelaire provides the possibility of realigning metaphysics and politics so that poetry has the potential to become the space in which we can begin to think the two of them together, as opposed to seeing them in unresolvable tension. Or rather, the tension that Baudelaire animates between the two allows us a new way of thinking about the role of esthetics in moments of political crisis. We can in some ways see Baudelaire as responding, avant la lettre, to two of his early twentieth-century readers who correctly perceived his work as the space that breathes a new urgency into the questions of how modern poetry relates to the world from which it springs and in which it intervenes.

Conclusion

2018 ◽  
pp. 189-206
Author(s):  
Michael P. Roller
Keyword(s):  
Twentieth Century ◽  
Social Control ◽  
Everyday Life ◽  
Symbolic Violence ◽  
The Third ◽  
The Past ◽  
The Social ◽  
Semiotic Systems ◽  
Oppressed Group

The conclusion revisits the three major inquiries addressed in the text, drawing together the evidence and contexts provided in the previous seven chapters. The first investigates the role of objective settings, such as the systemic and symbolic violence of landscapes and semiotic systems of racialization in justifying or triggering moments of explicit subjective violence such as the Lattimer Massacre. The second inquiry, traces the trajectory of immigrant groups into contemporary patriotic neoliberal subjects. In other terms, it asks how an oppressed group can become complicit with oppression later in history. The third inquiry traces the development of soft forms of social control and coercion across the longue durée of the twentieth century. Specifically, it asks how vertically integrated economic and governmental structures such as neoliberalism and governmentality which serve to stabilize the social antagonisms of the past are enunciated in everyday life.

scholarly journals Reconstruction as trope of cultural display. Rethinking the role of “living exhibitions”

1970 ◽  
pp. 49
Author(s):  
Cathrine Baglo
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Western World ◽  
Amusement Parks ◽  
Early Twentieth Century ◽  
International Expositions

During the nineteenth and early twentieth century, a new and particularly widespread type of exhibition practice occurred all over the Western World, namely “living exhibitions”. They were characterized by the display of indigenous and exotic-looking peoples in zoological gardens, circuses, amusement parks, various industrial expositions, and major international expositions where representatives of indigenous and foreign peoples from all over the globe performed their everyday life in reconstructed settings. Entire milieus were recreated by bringing along dwellings, animals, objects, etc. Eventually this would also become the dominant trope of display in folkloric exhibitions. Nevertheless, the living exhibitions have not been regarded as in uential to this development. Instead, the trope has most commonly been accredited to the Swedish folklorist Artur Hazelius. In this article, I stress the importance of situating his display techniques and museological ideals within a wider context, most importantly the living exhibitions. The emphasis will be on the display of Sámi. 

scholarly journals The Lower Clergy and Popular Culture

2021 ◽  
Vol 1 (1) ◽  
Author(s):  
Dániel Bárth
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Popular Culture ◽  
Everyday Life ◽  
Cultural Transmission ◽  
Cultural Practices ◽  
Local Communities ◽  
The Social ◽  
Written Form

The aim of this paper is to examine the role of the Christian lower priesthood in local communities in eighteenth–twentieth century Hungary and Transylvania in cultural transmission. The author intends to map out the complex and changing conditions of the social function, everyday life, and mentality of the priests on the bottom rung of the clerical hierarchy. Particular emphasis is placed on the activity of priests active at the focus points of interaction between elite and popular culture who, starting from the second half of the eighteenth century, often reflected both directly and in a written form on the cultural practices of the population of villages and market towns. The theoretical questions and possible approaches are centered around the complex relations of the priest and the community, their harmonious or conflict-ridden co-existence, questions of sacral economy, stereotypes of the “good priest” and the “bad priest” as shaped from above and from below, the subtleties of “priest-keeping”, the intentions related to preserving traditions and creating new customs, and the different temperaments of priests in relation to these issues.

scholarly journals ESTABLISHMENT AND DEVELOPMENT OF NATIONAL FOLK STAGE CHOREOGRAPHY

2020 ◽  
pp. 119-123
Author(s):  
Tarantseva O.O.
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Performing Arts ◽  
Fairy Tale ◽  
Cultural Development ◽  
Folk Dance ◽  
Independent Form ◽  
Moral Problems ◽  
Further Development

У статті проаналізовано джерела та історичні передумови розвитку національної народно-сценічної хореографії. Визначено етапи становлення й розвитку виконавської школи народно-сценічного танцю та балету в Україні, відповідно, проаналізовано зміст та форми народної хореографії, визначено місце і роль танцювального мистецтва у культурному надбанні українців.Визначено плеяду видатних балетмейстерів, які внесли значний вклад у розвиток та пропаганду хореографічного мистецтва. Зокрема, відзначається праця Б. Ніжинської «Рух і школа руху», в якій висвітлюються педагогічні й естетичні погляди авторки та її увага до використання характерного тан-цю у створених нею балетах «Дванадцята рапсодія» на музику Ф. Ліста та «Похоронний марш» на однойменну музику Ф. Шопена. Наголошено про збагачення танцю новими рухами та його поєднання з виразними засобами, якими є слово, музика, світло, танцювальні костюми, бутафорія тощо, за допо-могою яких більш виразно передаються складні почуття та певні життєві ситуації.Велику увагу приділено відстеженню джерел та шляхів становлення й розвитку системи підготов-ки танцюристів від танцювальних студій і шкіл до професійних навчальних закладів та їх засновни-ків: І. Іваницького, Д. Ширая, М. Піона, В. Верховинця, М. Мордкіна, Б. Ніжинської, О. Гаврилової, І. Чистякова.Акцентується увага на побудову та малюнок українських танців (під пісню, під музику, лінійні, геометричні, коло, вуж, ланцюг, лави тощо), їх тематичну направленість (сюжетні, побутові, релігійні, патріотичні, хороводні, національні тощо).Проаналізовано виділення театрального танцю з побутового та його перетворення на самостійний вид сценічного мистецтва – балет, а також подальший розвиток балету шляхом доповнення мораль-них проблем філософськими, казкових сюжетів реалістичними, наповнення національною тематикою балетних вистав.Підкреслено, що засади, на яких ґрунтувалася виконавська школа народно-сценічного танцю на початку ХХ ст., мали глибоке історичне коріння, зокрема, народна хореографія завжди була невід’єм-ною частиною культурного розвитку українського народу. The article аnalyzes the sources and historical prerequisites for the development of national folk-choreography. The stages of formation and development of the performing school of folk-dance and ballet in Ukraine are determined, the content and forms of folk choreography are analyzed accordingly, the place and role of dance art in the cultural heritage of Ukrainians are determined.A galaxy of outstanding balletmasters who have contributed significantly to the development and promotion of choreographic art has been identified. Particularly noteworthy is the work of B. Nijinsky’s Movement and the School of Movement, which highlights the pedagogical and aesthetic views of the author and her attention to the use of characteristic dance in her ballets. Emphasis is placed on enriching the dance with new movements and combining it with expressive means such as words, music, light, dance costumes, intercommunication, etc., which more clearly convey complex feelings and certain life situations.Much attention is paid to tracing the sources and ways of formation and development of the system of training dancers from dance studios and schools to vocational schools and their founders I. Ivanitsky, D. Shirai, M. Pion, V. Verhovynets, M. Mordkin, B. Nizhynsky, O. Gavrilova, I. Chistyakov.Attention is paid to the construction and drawing of Ukrainian dances, their thematic orientation (story, household, religious, patriotic, dance, national, etc.).The separation of theatrical dance from everyday life and its transformation into an independent form of the performing arts – ballet is analyzed, as well as the further development of ballet by supplementing moral problems with philosophical, fairy-tale subjects realistic, filling the national theme of the ballet performances of “Lily” by K. Dankevych. Svechnikov, “Sorochinsky Fair” by V. Gomolyak, “Shadows of Forgotten Ancestors” by V. Kireyko, “Dawn Lights” by L. Dychko, “Kamianar” by M. Skorik.It is emphasized that the foundations on which the performing school of folk-dance at the beginning of the twentieth century was based had deep historical roots, in particular folk choreography has always been an integral part of the cultural development of the Ukrainian people.

Introduction

2018 ◽  
Author(s):  
Tim Watson
Keyword(s):  
United States ◽  
Twentieth Century ◽  
African Americans ◽  
Everyday Life ◽  
The United States ◽  
Us South ◽  
The Us ◽  
Observation Program ◽  
The 1950S

The introduction summarizes the process of decolonization in the British and French Empires and the role of the United States. Anthropology became a more professionalized discipline, raising the barriers to interdisciplinary conversations between anthropologists and other intellectuals and making it less desirable for colonial intellectuals to choose anthropology, as a significant number had done earlier in the twentieth century. Nevertheless, exchanges continued between literature and anthropology. I argue that the literary-anthropological dynamics of the 1950s and 1960s were prefigured by three examples in the 1930s and 1940s: Zora Neale Hurston’s fieldwork among African Americans in the US South, Michel Leiris’s account of Marcel Griaule’s 1930s anthropological expedition from Dakar to Djibouti, and the establishment of the Mass-Observation program to document British everyday life. The introduction analyzes Claude Lévi-Strauss’s Tristes tropiques as a key text in the flourishing of a new literary anthropology in the 1950s.

scholarly journals Nikolai Evreinov and Edith Craig as Mediums of Modernist Sensibility

2010 ◽  
Vol 26 (3) ◽  
pp. 203-216 ◽  
Author(s):  
Alexandra Smith
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Modern Society ◽  
Russian Literature ◽  
Russian Revolution ◽  
Marina Tsvetaeva ◽  
Man Ray ◽  
University Of Edinburgh ◽  
Century Poetry ◽  
The University

Nikolai Evreinov (1870–1953) was a Russian playwright, director, and theorist of the theatre who played a leading part in the modernist movement of Russian theatre. Evreinov's 1911 monodrama The Theatre of the Soul(V kulisakh dushi) was staged by the Crooked Mirror theatre in St Petersburg in 1912. It was also performed in London (1915) and Rome (1929), and inspired Man Ray to create his aerograph The Theatre of the Soul (1917). In this article Alexandra Smith links Evreinov's play to Russian modernist thought shaped by the atmosphere of crisis associated with the Russo–Japanese War and the first Russian Revolution. It demonstrates that Edith Craig's production of Evreinov's play suggests that the philosophy of theatricalization of everyday life might enable modern subjects to overcome the fragmentation of modern society. Craig's use of the montage-like techniques of Evreinov's play prefigures cinematographic experiments of the 1920s and Marinetti's notion of synthetic theatre. Alexandra Smith is a Reader in Russian Studies at the University of Edinburgh and is the author of The Song of the Mockingbird: Pushkin in the Works of Marina Tsvetaeva (1994) and Montaging Pushkin: Pushkin and Visions of Modernity in Russian Twentieth-Century Poetry (2006), as well as numerous articles on Russian literature and culture.

Common Ground and Missing Links German Volkskunde and Language

2015 ◽  
Vol 24 (1) ◽  
pp. 24-41
Author(s):  
Stefan Groth
Keyword(s):  
Twentieth Century ◽  
Social Science ◽  
Everyday Life ◽  
Common Ground ◽  
Second World War ◽  
World War ◽  
Folklore Studies ◽  
Second World ◽  
Local Cultures

Language and its relation to culture has been a topic of research in German Volkskunde [folklore studies] from the beginning of the discipline. While dialectological studies, linguistic specificities of local cultures and language in everyday life have been integral parts of Volkskunde for much of the first part of the twentieth century, the discipline saw a shift away from its philological elements towards a social science orientation in post-Second World War developments. During the last decades, the analysis of linguistic dimensions of everyday culture has been on the margin of scholarly activities in Volkskunde. Starting with a historic perspective on the role of language in the beginnings of the discipline, this article discusses the development and decrease of the study of linguistic aspects. It analyses the role of language in contemporary German Volkskunde both in theory and methodology, and offers perspectives on how the discipline could benefit from a renewed focus on linguistic dimensions of everyday culture.

scholarly journals Father Porphyry Stupnytsky (1847–1926): touches to the portrait

2020 ◽  
pp. 189-205
Author(s):  
Ruslan Deliatynskyi
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Catholic Church ◽  
Historical Development ◽  
Catholic Clergy ◽  
Political Processes ◽  
History Of ◽  
Late Nineteenth ◽  
Methodological Approaches

The relevance of the study lies in the attempt to reconstruct the historical portrait of a Greek Catholic priest against the background of socio-political processes in Galicia in the late nineteenth - in the first quarter of the twentieth century. The appeal to the figure of the next pastor, who continues a series of our studies of the biographies of the clergy of the Stanislaviv eparchy, is conditioned by the need to form objective assessments of the historical development of the Greek Catholic Church based on the analysis of sources and the application of new methodological approaches, in particular, biography and "history of everyday life". The assessments of the role of the Greek Catholic clergy in the formation of the national identity of Ukrainians in Galicia in modern Ukrainian historiography, the thesis about the clergy as a "smithy of intellectuals", obviously need a new understanding of specific examples.

scholarly journals The Role of School Dances in the First Half of the 20th Century

2021 ◽  
Vol 2 (1) ◽  
pp. 106-121
Author(s):  
Dorina Szente
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Human Body ◽  
Social Influences ◽  
Social Conditions ◽  
The Everyday ◽  
Anthropological Research ◽  
Visual Database ◽  
Symbolic World

In the first half of the twentieth century, photography allowed families and groups to capture important moments. In the 1920s and 1930s, cheaper and simpler cameras appeared on the market, which became available to many people. It was the Kodak revolution. The intimate family spaces opened; the everyday life of the schools became visible. The Fortepan visual database is a collection of such photographs taken between 1900 and 1990. As a cultural imprint of the time, the photograph has become a new source for researchers to observe a symbolic world we know little about. The oldest communication medium is the human body, so its movement in space can take cultural anthropological and pedagogical anthropological research to a whole new level. Rituals interarm everyday life, forming a transition between past, present, and future. It creates community, order. School celebrations are a good way to see hidden content that settles social conditions. The research looks at how school dances appeared in the 1920s and 1930s and how school dances changed to different social influences, and what ritual elements appear in them.

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