scholarly journals Death in Beijing

Poligrafi ◽  
2019 ◽  
Vol 24 (93/94) ◽  
pp. 49-75
Author(s):  
Nataša Vampelj Suhadolnik
Keyword(s):  
Twentieth Century ◽  
Historical Context ◽  
German Language ◽  
Material Objects ◽  
Close Reading ◽  
Ancestor Worship ◽  
Funerary Rituals ◽  
The World ◽  
Funeral Practices ◽  
The Subject

Alma Maximiliane Karlin (1889–1950) was a world traveller, writer, journalist, and collector from Slovenia. She embarked on an eight-year journey around the world in November 1919, in the course of which she published a series of travel sketches in the Cillier Zeitung, a local German-language newspaper. In one of these she reported on funerary rituals and mourning practices in China. After returning to Europe, she was to cover the same topic in her three‑volume travelogue, published between 1929 and 1933. In this paper we analyse these two early accounts of Chinese funerary rituals by Alma Karlin. We also consider some material objects linked to mortuary rites and ancestor worship that she brought back from her voyage in order to gain a broader understanding of her views on Chinese attitudes towards the dead. Supported by a close reading of material and textual sources on Chinese funeral practices, we compare her treatment of the subject with other accounts written by Slovenian missionaries to China in the early twentieth century. In addition to discussing certain personal elements in these accounts, we attempt to place them in their socio‑historical context.

scholarly journals Oaknín, Mazal. Feminism, Writing and the Media in Spain. Oxford, Peter Lang, 2019, 209 pp., ISBN 978-3-0343-1865-5

Hikma ◽  
2020 ◽  
Vol 19 (2) ◽  
pp. 367-370
Author(s):  
Maria Luisa Rodríguez Muñoz
Keyword(s):  
Twentieth Century ◽  
Historical Context ◽  
Essential Work ◽  
Rosa Montero ◽  
Cultural Products ◽  
Ana Maria Matute ◽  
Lucia Etxebarria ◽  
Descriptive Research ◽  
The World ◽  
The Media

In line with the sociological shift in translation and literary studies, which is experiencing increasing success nowadays, Professor Mazal Oaknín offers us an essential work to delve into the evolution of women’s writing in Spain in the twentieth century and how it is represented and constructed through the media. Unlike descriptive research focusing on cultural products, this scholar bases her research on the influence that historical context and marketing constraints have exerted on the image through which three emblematic female Spanish writers (Ana María Matute, Rosa Montero and Lucía Etxebarría) have introduced themselves to the world of letters and their readerships.

Exploring Working-Class Consciousness: A Critique of the Theory of the ‘Labour-Aristocracy’*

2010 ◽  
Vol 18 (4) ◽  
pp. 3-38 ◽  
Author(s):  
Charles Post
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Alternative Explanation ◽  
World Market ◽  
Capitalist Class ◽  
Capitalist Production ◽  
Leading Role ◽  
Victorian Period ◽  
The World ◽  
The Subject

AbstractThe notion of the labour-aristocracy is one of the oldest Marxian explanations of working-class conservatism and reformism. Despite its continued appeal to scholars and activists on the Left, there is no single, coherent theory of the labour-aristocracy. While all versions argue working-class conservatism and reformism reflects the politics of a privileged layer of workers who share in ‘monopoly’ super-profits, they differ on the sources of those super-profits: national dominance of the world-market in the nineteenth century (Marx and Engels), imperialist investments in the ‘colonial world’/global South (Lenin and Zinoviev), or corporate monopoly in the twentieth century (Elbaum and Seltzer). The existence of a privileged layer of workers who share monopoly super-profits with the capitalist class cannot be empirically verified. This essay presents evidence that British capital’s dominance of key-branches of global capitalist production in the Victorian period, imperialist investment and corporate market-power can not explain wage-differentials among workers globally or nationally, and that relatively well-paid workers have and continue to play a leading rôle in radical and revolutionary working-class organisations and struggles. An alternative explanation of working-class radicalism, reformism, and conservatism will be the subject of a subsequent essay.

What do we value? The questions of Rachel Whiteread’s House

2020 ◽  
Vol 9 (3) ◽  
pp. 155-170 ◽  
Author(s):  
Elesa Huibregtse
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Public Space ◽  
Historical Context ◽  
Housing Policies ◽  
Victorian Era ◽  
Cultural Texts ◽  
The Subject ◽  
East End ◽  
Post Industrial

On 25 October 1993, British artist Rachel Whiteread revealed her most ambitious sculptural work to date – House. The solidified space of this Victorian-era, terraced home physically existed for a mere 80 days; yet, during this time it became the subject of an intense media interest and heated public debate which reached the United Kingdom’s Houses of Parliament. While House has been discussed in depth within art historical scholarship for almost 30 years, trends in this academic body of work tend to focus on absence and memory in a highly contested public space, as well as thoughts on loss, death, architecture, the art market, politics and gentrification in London’s East End during the latter part of the twentieth century. What is lacking, however, is an examination of House within the larger context of visual culture and what it may, or may not, mean for contemporary viewers. Analysing the historical context of the work’s location through a Marxist lens, reveals the dehumanization which occurred within the East End’s class constructs throughout the nineteenth century, and its effect on housing policies well into the twentieth century. Reading the sculptural work itself, using the methodologies of semiotics, unveils mythologies regarding what is and is not expendable in our western spaces; particularly, the working class, houses and works of art in post-industrial capitalist societies. The ideologies embedded within these mythologies continue to appear in our mass media images to this day, leaving unanswered questions regarding what is truly valued in our societies. Thus, Whiteread’s unique work is an artistic intervention into an image-saturated environment, asking the viewers and readers of cultural texts to consider at what point in time we will seek to change how we treat that which has been arguably undervalued.

The Origin of the Judges’ Rules

2020 ◽  
pp. 33-53
Author(s):  
Mike McConville ◽  
Luke Marsh
Keyword(s):  
Twentieth Century ◽  
Critical Issue ◽  
Home Office ◽  
The World ◽  
The Subject ◽  
The Law ◽  
Police Forces

The point at which the liberty of the subject can be subject to interference by force of the law is a critical issue and one reliant on the integrity of judicial oversight. Focusing on the start of the twentieth century, this chapter addresses the discontinuities in the then existing rules relating to the interrogation of suspected persons (embodied by the Judges’ Rules of 1912, whose obscure origins are discussed) and the divergent responses of different police forces to the cautioning and questioning process. From this it explores how the need for closer formal regulation arose and the role of Home Office officials (the very same as those involved in the Adolph Beck case) in drafting the first revision of the Judges’ Rules in 1918 which were to remain in force for almost fifty years. These inapt and inexpertly drafted Rules thereafter laid the foundations for policing regulation in jurisdictions around the world.

The Limits of Possibility: Rand McNally in American Culture, 1898-1929

2000 ◽  
pp. 7-26
Author(s):  
Susan Schulten
Keyword(s):  
United States ◽  
Twentieth Century ◽  
The United States ◽  
Large Share ◽  
Complex Interplay ◽  
History Of Cartography ◽  
The World ◽  
Commercial Market ◽  
History Of ◽  
The Subject

In the early twentieth century, Rand McNally held a large share of the commercial market for maps and atlases in the United States. How the company built its reputation as an American cartographic authority—by both accepting and resisting change—is the subject of this essay. Critical to the company’s success was its ability to design materials that reinforced American notions of how the world ought to appear, an indication that the history of cartography is governed not just by technological and scientific advances, but also by a complex interplay between mapmakers and consumers.

scholarly journals Det klingendes meningspotensial og dets slumrende klangbunn i lytteren: Utkast til en musikkinspirert livsanskuelse

2020 ◽  
pp. 301-311
Author(s):  
Peder Christian Kjerschow
Keyword(s):  
Brain Research ◽  
World View ◽  
Historical Context ◽  
Reward System ◽  
Human Origin ◽  
The World ◽  
The Subject ◽  
The Brain ◽  
Unique Potential ◽  
Thinking Consciousness

In this essay I am aiming to sketch a context of my view of music, taking the form of a musically-inspired Weltanschauung [world view]. Confronted with “great” music of all types, I experience the particular ability of music to bring consciousness into a state of listening, attentive “passivity”, without the need for an explanation of what it is about. Afterwards, the thinking consciousness may rise to active reflection on the unique potential of meaning in music – so unlike anything else – and on the equally enigmatic resonant disposition in me that responds to music as an essential meaningful appeal. Although music has all the characteristics of its human origin and historical context, it may be considered as a spring welling from the very source of the world: Its potential of meaning is rooted deeper than human culture. Thus, music offers a confrontation with objective reality, not with something “staged” by our consciousness or, not to mention, by our brain. This musical confrontation with reality has led to my questioning the subjectivism of Kant and especially Fichte, and to an interest in Schelling’s philosophy of nature as a convincing refutation of subjectivistic epistemology. In the name of reality, I touch on the problematic interpretations and conclusions of neuroscience and brain research concerning self-perception. This sort of “philosophy”, where the very self (i.e. the “I” or the subject) is identified with the object studied, i.e. the brain itself. This view may also imply a reductionistic understanding of the experience of meaningful music as “staged” by the reward system of the brain.

scholarly journals The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century

2020 ◽  
Vol 5 (4) ◽  
pp. 94-104
Author(s):  
Amina Azizova
Keyword(s):  
Twentieth Century ◽  
Individual Characteristics ◽  
Scientific Problem ◽  
The World ◽  
The Subject ◽  
Factors Of Influence ◽  
The Relationship ◽  
Image Type ◽  
Creative Life

The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.

scholarly journals Central Asian Social Types as an Orientalism Pattern in Leonid Solovyov’s Prose

2021 ◽  
Vol 18 (1) ◽  
pp. 44-59
Author(s):  
Eleonora F. Shafranskaya ◽  
Tatyana V. Volokhova
Keyword(s):  
Twentieth Century ◽  
Literary Work ◽  
Soviet Period ◽  
The Novel ◽  
Research Focus ◽  
General Sense ◽  
Cultural Methods ◽  
Central Asian ◽  
The World ◽  
The Subject

The literary work of the Russian writer Leonid Solovyov (1906-1962) was widely known in the Soviet period of the twentieth century - but only by means of the novel dilogy about Khoja Nasreddin. His other stories and essays were not included in the readers repertoire or the research focus. One of the reasons for this is that the writer was repressed by Stalinist regime due to his allegedly anti-Soviet activities. In the light of modern post-Orientalist studies, Solovyovs prose is relevant as a subcomponent of Russian Orientalism both in general sense and as its Soviet version. The Oriental stories series, which is the subject of this article, has never been the object of scientific research before. The authors of the article are engaged, in a broad sense, in identifying the features of Solovyovs Oriental poetics, and, narrowly, in revealing some patterns of the Central Asian picture of the world. In particular, the portraits of social and professional types, met by Solovyov there in 1920-1930, are presented. Some of them have sunk into oblivion, others can be found today, in the XXI century. Comparative, typological and cultural methods are used in the interdisciplinary context of the article.

scholarly journals Critical Dystopia: Local Narrative in the Threshold in Ahmed Khaled Towfik’s Utopia

2019 ◽  
Vol 19 (1) ◽  
pp. 175-194
Keyword(s):  
Twentieth Century ◽  
System Structure ◽  
Close Reading ◽  
The Novel ◽  
Totalitarian Regime ◽  
Critical Orientation ◽  
The Subject ◽  
The Individual ◽  
Knowledge Memory ◽  
Critical Dystopia

This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this sub-genre originates mainly from the “local narrative” of a subject whose agency generates from his position in the “threshold” between those in and under control, combined with the “counter-conducts” he uses to acquire knowledge, memory, and awakened consciousness. As a full agent, the subject resists the “utopian” “metanarrative” of an oppressive system/structure and offers possibilities of meaning in a process of “différance” which entails a potential for change. This proposition is clarified through the close reading of Ahmed Khaled Towfik’s Utopia (2011; first published in Arabic in 2008). The novel is discussed as a critical dystopian text in which Gaber, the subject in the “threshold,” opposes the totalitarian regime of Utopia in his “local narrative.”

scholarly journals Anthropic turn to modernity

2018 ◽  
Vol 20 (91) ◽  
pp. 106-110
Author(s):  
O. V. Haletskyy
Keyword(s):  
Twentieth Century ◽  
Human Rights ◽  
Information Society ◽  
Theoretical Justification ◽  
New Science ◽  
Cultural Paradigm ◽  
New Process ◽  
The World ◽  
The Subject ◽  
Totalitarian Regimes

The anthropic turn of philosophy appears as a theoretical justification of the transition in the twentieth century from the state-totalitarian regimes to the globalization-information society, demo-liberal regimes and human rights. Since the middle of the twentieth century through so-called new science arises a new process-creative-centric image of the world in what the development of the anthroponomospherical tendency became the so-called socio-cultural paradigm, what is an increase in the conscious-spiritual factors of development. In the justifications of the anthropic principle of Carter, world-formation is concentrated in man as a personified creation of all cosmic, biological and social-spiritual forces, a continuation and continuater of world creation. The idea of a man as a cosmic being, but capable of his reconstruction, is further developed in a wide anthropocosmism. In the special anthropophilosophy of the first half of the twentieth century. The subject of reflection is the explanation and disclosure of the phenomenological meaning and the essence of human existence, the essence of which is that man is an animal, but is able to transcend himself, due to the spirit.

Sign in / Sign up

Export Citation Format

Share Document