Introduction

2021 ◽  
pp. 1-32
Author(s):  
Gillian Kelly
Keyword(s):  
Twentieth Century ◽  
Fine Art ◽  
Genre Studies ◽  
Ancient Greek ◽  
Strong Ties ◽  
Complex Term ◽  
Academic Study

This introductory chapter justifies the need for reappraising Power’s screen work and his underexplored position as a talented actor, not just a beautiful star. It discusses the approaches which will be applied to the rest of the book, the complex term ‘beauty’, particularly male beauty, from its origins with the Ancient Greek philosophers to how it is used today, mostly in fine art. An overview of the academic study of stars and genre studies then follows before Power’s background as part of a theatrical acting legacy and his strong ties to Britain are introduced. An exploration of the origins and growth of Twentieth Century-Fox, where Power was a top leading man then follows, before the chapter concludes by discussing Power’s earlies screen roles and bit parts before becoming a star.

The Academic Study of Sufism at American Universities

2007 ◽  
Vol 24 (3) ◽  
pp. 24-45 ◽  
Author(s):  
Marcia Hermansen
Keyword(s):  
Twentieth Century ◽  
Current Situation ◽  
Muslim World ◽  
Western Thought ◽  
Academic Institutions ◽  
Academic Context ◽  
American Universities ◽  
Islamic Studies ◽  
Academic Study

This article provides an overview of the history and current situation of the academic study of Sufism (Islamic mysticism) at American universities. It examines Sufism’s place within the broader curriculum of Islamic studies as well as some of the main themes and approaches employed by American scholars. In addition, it explains both the academic context in which Sufi studies are located and the role of contemporary positions in Islamic and western thought in shaping its academic study.1 Topics and issues of particular interest to a Muslim audience, as well as strictly academic observations, will be raised. In comparison to its role at academic institutions in the traditional Muslim world,2 Sufi studies has played a larger role within the western academic study of Islam during the twentieth century, especially the later decades. I will discuss the numerous reasons for this in the sections on the institutional, intellectual, and pedagogical contexts.

Introduction

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural History ◽  
Intellectual History ◽  
Historical Sociology ◽  
Cultural Representations ◽  
History Of ◽  
Television Film ◽  
Popular Image

The introductory chapter discusses the popular image of the ‘Romantic mad poet’ in television, film, theatre, fiction, the history of literary criticism, and the intellectual history of the twentieth century and its countercultures, including anti-psychiatry and psychoanalysis. Existing literary-historical work on related topics is assessed, before the introduction goes on to suggest why some problems or difficulties in writing about this subject might be productive for further cultural history. The introduction also considers at length the legacy of Michel Foucault’s Folie et Déraison (1961), and the continued viability of Foucauldian methods and concepts for examining literary-cultural representations of madness after the half-century of critiques and controversies following that book’s publication. Methodological discussion both draws on and critiques the models of historical sociology used by George Becker and Sander L. Gilman to discuss genius, madness, deviance, and stereotype in the nineteenth century. A note on terminology concludes the introduction.

Levantine Art in the “Orientalizing” Period

2019 ◽  
pp. 369-383
Author(s):  
Marian H. Feldman
Keyword(s):  
Twentieth Century ◽  
Cultural Relations ◽  
Ancient Greek ◽  
The West ◽  
False Dichotomy ◽  
First Millennium

The “Orientalizing period” represents a scholarly designation used to describe the eighth and seventh centuries bce when regions in Greece, Italy, and farther west witnessed a flourishing of arts and cultures attributed to contact with cultural areas to the east—in particular that of the Phoenicians. This chapter surveys Orientalizing as an intellectual and historiographic concept and reconsiders the role of purportedly Phoenician arts within the existing scholarly narratives. The Orientalizing period should be understood as a construct of nineteenth- and twentieth-century scholarship that was structured around a false dichotomy between the Orient (the East) and the West. The designation “Phoenician” has a similarly complex historiographic past rooted in ancient Greek stereotyping that has profoundly shaped modern scholarly interpretations. This chapter argues that the luxury arts most often credited as agents of Orientalization—most prominent among them being carved ivories, decorated metal bowls, and engraved tridacna shells—cannot be exclusively associated with a Phoenician cultural origin, thus calling into question the primacy of the Phoenicians in Orientalizing processes. Each of these types of objects appears to have a much broader production sphere than is indicated by the attribute as Phoenician. In addition, the notion of unidirectional influences flowing from east to west is challenged, and instead concepts of connectivity and networking are proposed as more useful frameworks for approaching the problem of cultural relations during the early part of the first millennium bce.

Some Ancient Greek and Twentieth-Century Theories of Value

2020 ◽  
Vol 97 (3) ◽  
pp. 374-385
Author(s):  
Richard Kraut
Keyword(s):  
Twentieth Century ◽  
Ancient Greek ◽  
Early Twentieth Century ◽  
Human Good ◽  
Good For ◽  
Definition Of

Abstract Plato puts goodness at the center of all practical thinking but offers no definition of it and implies that philosophy must find one. Aristotle demurs, arguing that there is no such thing as universal goodness. What we need, instead, is an understanding of the human good. Plato and Aristotle are alike in the attention they give to the category of the beneficial, and they agree that since some things are beneficial only as means, there must be others that are non-derivatively beneficial. When G. E. Moore proposed in the early twentieth century that goodness is, as Plato had said, the foundation of ethics, he rejected not only the assumption that goodness needs a definition, but also that goodness is beneficial – that is, good for someone. This article traces the development of this debate as it plays out in the writings of Prichard, Ross, Geach, Thomson, and Scanlon.

The Living Art of Greek Tragedy. By Marianne McDonald. Bloomington and Indianapolis: Indiana University Press, 2003; pp. 224. $15.95 paper.

2005 ◽  
Vol 46 (1) ◽  
pp. 167-168
Author(s):  
Edmund P. Cueva
Keyword(s):  
Twentieth Century ◽  
Greek Tragedy ◽  
Classical Period ◽  
Ancient Greek ◽  
Indiana University

Marianne McDonald's book provides a solid introduction to ancient tragedy and theatre. The author examines the works by the three major ancient Greek tragedians, Aeschylus, Sophocles, and Euripides, and supplies for each playwright biographies, synopses of their works, and modern and ancient translations and adaptations of their plays. The listing of the translations and adaptations is selective and spans from the classical period up to the twentieth century.

Leo Strauss, Natural Right and History

2016 ◽  
Author(s):  
Ryan Balot
Keyword(s):  
Twentieth Century ◽  
Political Thought ◽  
The Political ◽  
Leo Strauss ◽  
Ancient Greek ◽  
Philosophical Inquiry ◽  
Natural Right ◽  
Philosophical Dialogue ◽  
Rational Order ◽  
Stated Purpose

This chapter evaluates the arguments and intentions of Leo Strauss’s most ambitious political text, Natural Right and History. Strauss’s stated purpose is to rehabilitate the ancient Greek and Roman conceptions of “natural right”—a term of art by which he referred to the justice inherent in the rational order of nature. His express motivation was to rebut the relativism and historicism that, in his view, characterized twentieth-century political thought. This chapter contends that the book’s core lies in its implicit presentation of philosophical inquiry as the highest human vocation. This idea is presented less through systematic argument than through Strauss’s own engagement with canonical political texts—an engagement designed to illustrate both the excitement and the fulfillment of philosophical dialogue. The political virtues, while defended on the surface of the text, remain as unsettled by the end as they were in the introduction.

scholarly journals And did those hooves: Pan and the Edwardians

2021 ◽  
Author(s):  
◽  
Eleanor Toland
Keyword(s):  
Twentieth Century ◽  
Fairy Tale ◽  
Sexual Revolution ◽  
World War ◽  
Ancient Greek ◽  
World War One ◽  
Peter Pan ◽  
Major Work ◽  
The Past ◽  
The Future

<p>A surprisingly high number of the novels, short stories and plays produced in Britain during the Edwardian era (defined in the terms of this thesis as the period of time between 1900 and the beginning of World War One) use the Grecian deity Pan, god of shepherds, as a literary motif. Writers as diverse as Somerset Maugham, E.M. Forster, Frances Hodgson Burnett and G.K. Chesterton made Pan a fictional character or alluded to the god of shepherds in more subtle ways. The mystery of why the Edwardians used an ancient Greek god as a symbol requires a profound interrogation of the early twentieth century British soul. The Edwardian era was a narrow corridor of time between the Victorian age and the birth of modernism with the First World War, a period characterised by vast social and political transition, as a generation began to comprehend change they equally feared and desired. Pan was an equivocal figure: easily portrayed as satanic due to his horns and goatish nature, but as the kindly god of shepherds, also a Christ-like figure. Such ambiguity made Pan an ideal symbol for an age unsure of itself and its future. Writers like Maugham and Machen, afraid of social and sexual revolution, portrayed Pan as diabolical, a tempter and a rapist. E.M. Forster, a homosexual man hopeful about the possibility of change, made Pan a terrifying but ultimately liberating figure for those ready to accept the freedom he represented. Kenneth Grahame, desiring the return of a Luddite, Arcadian past that had never truly existed, wrote of Pan as Jesus on the riverbank, sheltering the lost and giving mystic visions to the worthy. Pan represented a simultaneous craving in the Edwardians to flee to the past and to embrace the future, an idealism of the primitive coupled with hope for the future. What he also symbolized was anxiety about the future and the desire to not return to the horrors of the past, fears of the primitive suggested in the nightmarish atavism of Saki’s “The Music on the Hill” and the fears of what society might become expressed in Forster’s “The Machine Stops”. The Edwardian Pan eventually reached its culmination in J.M. Barrie’s twentieth-century fairy tale Peter Pan, in which the eponymous character, seeming at first so different from the ancient Greek mythological figure, became an embodiment of everything the Edwardian Pan phenomenon represented. With the nightmarish yet fascinating figure of Peter Pan, the Edwardians had created a new Pan, reborn for their age. With the beginning of World War One, the Pan figure would begin to fade into insignificance, with only one major work later published which could justifiably be called part of the phenomenon; Lord Dunsany’s The Blessing of Pan, a fitting elegy for the Edwardian Age.</p>

scholarly journals The use of clay as a medium in contemporary sculpture (1980- 2003)

2004 ◽  
Author(s):  
◽  
Carla Da Cruz
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Large Scale ◽  
Fine Art ◽  
Significant Shift ◽  
Historical Overview ◽  
Size Scale ◽  
Contemporary Sculpture ◽  
Clay Materials ◽  
Functional Ceramics

This dissertation investigates the use of clay as a medium in contemporary sculpture made between 1980 and 2003. This research focuses specifically on discussing the artists' (both sculptors and ceramists) different approaches and attitudes to working with clay, from construction, manipulation, firing and glazing techniques through to their personal aesthetics and ideas. This dissertation examines how and why the contemporary sculptor trained in Fine Art is increasingly using clay as a medium in which to work. In addition, the candidate discusses the work of ceramic artists that have moved away from the constraints of earlier, more traditional, functional ceramics and have sought to push the boundaries of clay usage in terms of size, scale, mass and concept. Chapter One presents a broad historical overview of the use of clay in sculpture. This overview illustrates the depth and breadth of the use of clay in the making of sculpture, spanning the Nineteenth Century to the Twentieth Century, in order to highlight the significant shift in the use of clay in contemporary sculpture. Chapter Two introduces and discusses a number of contemporary sculptors who work in clay in different ways. Section One examines artists using clay and other materials in the creation of installations. These include Antony Gormley and Andy Goldsworthy. Section Two discusses those artists working with clay in large-scale, including Jun Kaneko and Wilma Cruise. The architectural and environmental use of clay materials is discussed in Section Three; this includes artists John Roloff, who works with the kiln as sculpture and Joyce Kohl, who works with adobe assemblages and steel.

Race, Immigration, and the American Welfare State

2012 ◽  
Author(s):  
Cybelle Fox
Keyword(s):  
Twentieth Century ◽  
Labor Market ◽  
Welfare State ◽  
Political System ◽  
Political Systems ◽  
State Development ◽  
European Immigrants ◽  
Welfare State Development ◽  
Market Relations

This introductory chapter provides an overview of the three worlds of relief created by the intersection of labor, race, and politics in welfare state development. Blacks, Mexicans, and European immigrants inhabited three separate worlds in the first third of the twentieth century, each characterized by its own system of race and labor market relations and its own distinct political system. From these worlds—and each group's place within them—three separate perspectives emerged about each group's propensity to become dependent on relief. The distinct political systems, race and labor market relations, and ideologies about each group's proclivity to use relief, in turn, influenced the scope, reach, and character of the relief systems that emerged across American communities.

Introduction

2016 ◽  
Author(s):  
Leah Platt Boustan
Keyword(s):  
Twentieth Century ◽  
Labor Demand ◽  
Housing Markets ◽  
Black Migration ◽  
The North ◽  
Economic Progress ◽  
Industrial Cities ◽  
Black Economic ◽  
Black Residents

This introductory chapter outlines the central themes and methodologies underpinning this book. It discusses the factors for slow black economic progress in the North following the Great Black Migration. Despite the promise of the North and despite optimistic predictions, black migration to industrial cities did not lead to economic parity with whites either for the migrants themselves or for their children during the mid-twentieth century. This chapter introduces a new element to the story by pointing out that that the persistent influx of black migrants to northern labor and housing markets had created competition for existing black residents in an economic setting already constrained by weakening labor demand and northern racism.

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