scholarly journals For a Fair(er) Global History

2021 ◽  
Author(s):  
Friedrich Ammermann ◽  
Paul Barrett ◽  
Olga Byrska ◽  
Elisa Chazal ◽  
Vigdis Andrea Baugstø Evang ◽  
...  
Keyword(s):  
Career Stages ◽  
Library Of Congress ◽  
Global History ◽  
Matteo Ricci ◽  
European University ◽  
Image Caption

This article is authored by a group of PhD researchers at the European University Institute (EUI) and two teachers as part of the PhD seminar in Global History held in the Fall of 2020 during the COVID-19 pandemic. We consider three topics: ‘The politics of global history’ thinking about global history as a form of activism; ‘Whose global history?’ considering issues of property and sharing; and ‘An open global history’ proposing a utopian future (for a troubled present). We believe that in order for global history to thrive, its practitioners need to be more inclusive and acknowledge imbalances of power across world areas, across genders, and across career stages. Image Caption: Sekisui Nagakubo after Matteo Ricci, Sankai Yochi Zenzu (山海輿地全圖) (Naniwa, 1785). Library of Congress Geography and Map Division Washington, D.C.

scholarly journals Global History, Area studies, and the Idea of Europe

2021 ◽  
Author(s):  
Alessandro Stanziani
Keyword(s):  
Social Sciences ◽  
Global History ◽  
History Writing ◽  
Area Studies ◽  
European Continent ◽  
The Enlightenment ◽  
History Of ◽  
Nineteenth And Twentieth Centuries ◽  
Image Caption

In most history departments on the European continent Europe is History while the history of other regions only can be described as “area studies.” This paper investigates the long-term origins of these attitudes, since Humanism and the Enlightenment, down to Nineteenth and Twentieth centuries forms of history writing. It finally suggests to overcome area studies and decentralise social sciences.   Image Caption: Giovanni Maria Cassini, Globo terrestre, in Nuovo atlante geografico universale delineato sulle ultime osservazioni (Rome, 1790). © 2000 by Cartography Associates, under Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0) licence.

After the Rhapsody

2014 ◽  
Vol 31 (1) ◽  
pp. 91-138 ◽  
Author(s):  
Susan Neimoyer
Keyword(s):  
Compositional Style ◽  
Library Of Congress ◽  
Popular Songs ◽  
Compositional Technique ◽  
Stage Music ◽  
Rhapsody In Blue

1924 was one of the most demanding years of George Gershwin’s career. In addition to the wildly successful premiere of the Rhapsody in Blue that led to numerous additional performances of the work throughout the year, he wrote the music for three hit musicals, all of which opened during that year. Given this context, a manuscript notebook in the Gershwin Collection at the Library of Congress dating from March and April 1924 is particularly intriguing. Because this notebook contains the earliest known sketch of “The Man I Love” (one of Gershwin’s best-loved popular songs), it has been acknowledged in passing by Gershwin scholars. “The Man I Love,” however, is only one of nine short pieces in the notebook and is the only entry written in what is now defined as Gershwin’s compositional style. This article briefly addresses the entire contents of this “March–April 1924 notebook,” exploring the possibilities of what Gershwin’s purposes in writing these undeveloped works might have been. Were they unused stage music, ideas for the set of piano preludes he was writing off and on during this era, or were they exercises focused on correcting weaknesses in compositional technique uncovered while writing the Rhapsody in Blue? Whatever their purpose, the pieces in this notebook provide clues as to what Gershwin’s creative priorities may have been, as well as further insights into how Gershwin honed his musical craft.

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