Cancan

2018 ◽  
Author(s):  
Clare Parfitt-Brown
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Early Development ◽  
Mass Culture ◽  
Modern Art ◽  
Early Nineteenth Century ◽  
Male And Female ◽  
Social Dance ◽  
Late Nineteenth ◽  
Modern Mass

The cancan is a popular dance form closely associated with the Parisian setting in which it emerged and underwent much of its early development. From its origins as a French social dance practice in the early nineteenth century, the dance shifted to a more performative mode of presentation in the late nineteenth and early twentieth centuries. The nineteenth-century cancan involved both male and female dancers performing either solo or in couples, improvising around the quadrille form. The dance attracted the attention of the writers and artists of an incipient Parisian modernism in the 1830s and 1840s, and this connection was reinvigorated in the 1880s and 1890s, particularly within the bohemian culture that centered on the Moulin Rouge. The familiar stereotype of the cancan as a female kick-line refers primarily to the form of the dance that emerged in the early twentieth century, echoing the development of modern mass culture. Later representations of the cancan, particularly in American films of the 1950s, referenced the Moulin Rouge of the 1890s and its connections with both the cancan and the post-Impressionist modern art of Henri de Toulouse-Lautrec.

Scottish Missionaries, ‘Protestant Hinduism’ and the Scottish Sense of Empire in Nineteenth- and Early Twentieth-century India

2007 ◽  
Vol 86 (2) ◽  
pp. 278-313 ◽  
Author(s):  
Philip Constable
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Western India ◽  
Early Nineteenth Century ◽  
Church Of Scotland ◽  
Free Church ◽  
Intellectual Engagement ◽  
Late Nineteenth ◽  
The Church

This article examines the Scottish missionary contribution to a Scottish sense of empire in India in the nineteenth and early twentieth centuries. Initially, the article reviews general historiographical interpretations which have in recent years been developed to explain the Scottish relationship with British imperial development in India. Subsequently the article analyses in detail the religious contributions of Scottish Presbyterian missionaries of the Church of Scotland and the Free Church Missions to a Scottish sense of empire with a focus on their interaction with Hindu socioreligious thought in nineteenth-century western India. Previous missionary historiography has tended to focus substantially on the emergence of Scottish evangelical missionary activity in India in the early nineteenth century and most notably on Alexander Duff (1806–78). Relatively little has been written on Scottish Presbyterian missions in India in the later nineteenth century, and even less on the significance of their missionary thought to a Scottish sense of Indian empire. Through an analysis of Scottish Presbyterian missionary critiques in both vernacular Marathi and English, this article outlines the orientalist engagement of Scottish Presbyterian missionary thought with late nineteenth-century popular Hinduism. In conclusion this article demonstrates how this intellectual engagement contributed to and helped define a Scottish missionary sense of empire in India.

scholarly journals The Irish Céilí: A Site for Constructing, Experiencing, and Negotiating a Sense of Community and Identity

2011 ◽  
Vol 29 (1) ◽  
pp. 43-60 ◽  
Author(s):  
Catherine E. Foley
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Sense Of Community ◽  
Late Nineteenth Century ◽  
Social Dance ◽  
Late Nineteenth ◽  
A Site ◽  
Changing Role ◽  
Important Site

For over a hundred years the Irish céilí, as an ‘invented’ social dance event and mode of interaction, has played a significant and changing role. This paper examines the invention of this Irish dance event and how it has developed in Ireland throughout the twentieth century. From the Gaelic League's cultural nationalist, ideological agenda of the late nineteenth century, for a culturally unified Ireland, to the manifestation of a new cultural confidence in Ireland, from the 1970s, this paper explores how the céilí has provided an important site for the construction, experiencing and negotiation of different senses of community and identity.

The Theology of the Scottish Protestant Missionary Movement

2019 ◽  
pp. 51-63
Author(s):  
Brian Stanley
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Late Nineteenth Century ◽  
Scottish Enlightenment ◽  
Early Nineteenth Century ◽  
Entire Life ◽  
Christian Communities ◽  
Missionary Movement ◽  
Late Nineteenth ◽  
Post War

In any survey of influential British missionary thinkers, Scottish names would occupy a prominent place. The Scottish contribution was not confined to those who served with the missions of the Presbyterian churches: some influential Scottish missionaries served with English societies, and some were not even Presbyterians. Nevertheless, five generalizations can be offered: (1) Scots Presbyterians opted to do mission through ecclesiastical structures, rather than through voluntary societies. (2) Scottish Presbyterian missions aimed to bring the entire life of Christian communities under the rule of Christ. (3) Scottish missionaries tended to insist that education was integral to the missionary task. (4) Scottish missionaries trained in the early nineteenth century drew deeply from the Scottish Enlightenment. (5) From the late nineteenth century, Scottish (like English) missionary theology was affected by philosophical idealism, though the mid-twentieth-century ascendancy of Barthianism may have helped to sustain the Scottish missionary movement in the turbulent post-war environment.

Pere Pionnier and Late Nineteenth-Century Bislama

1993 ◽  
Vol 8 (2) ◽  
pp. 207-226
Author(s):  
Terry Crowley
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Early Development ◽  
Late Nineteenth Century ◽  
Late Nineteenth ◽  
Characteristic Features

Recent years have seen the questioning of a number of widely held views about the early development of Melanesian Pidgin, with some writers debating Mühlhäusler's claim that many of the characteristic features of modern Tok Pisin represent later, twentieth-century, innovations, rather than retentions from what others would argue was a more modern-looking Melanesian Pidgin spoken in the late nineteenth century. This paper argues in support of the contention that many of the lexical and grammatical features that today seem to suggest that Tok Pisin has innovated relatively recently are in fact older retentions, and that these features were recorded in an important grammatical sketch of Bislama published by Père Pionnier in 1913 on the basis of information that he gathered in the 1890s in Vanuatu.

The language of typology

2019 ◽  
Vol 23 (2) ◽  
pp. 149-156
Author(s):  
Robert Grover ◽  
Stephen Emmitt ◽  
Alex Copping
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Mass Culture ◽  
Natural Order ◽  
Early Nineteenth Century ◽  
Architectural Discourse ◽  
Architectural Form ◽  
Built Form ◽  
The Creation

The concept of typology has recurred in architectural discourse since the term’s conception in the early nineteenth century. To describe an architectural object usually involves an act of typifying; a generalisation of built form to common characteristics. Both the analysis of architecture and its creation require this abstraction, which offers the potential to form types and expose initially unapparent relationships. Typology’s Enlightenment origins sought to link architecture to a natural order, but its terminology has subsequently been adopted in modernist rejections of mass culture and Neo-Rationalist pursuits of continua and meaning. Despite widespread use of the term, the role typology plays in the process of design remains unclear. Attempts to link its academic origins to the creation of architectural form (notably by Gottfried Semper in the nineteenth century, and Guilio Carlo Argan and Aldo Rossi in the twentieth century) have done little to synthesise the two and merely succeeded in alienating it from practice.

Moderne Ikonen

2009 ◽  
Vol 54 (2) ◽  
pp. 123-143
Author(s):  
Bernadette Collenberg-Plotnikov
Keyword(s):  
Mass Culture ◽  
Visual Experience ◽  
Modern Art ◽  
The Other ◽  
Recent Discussion ◽  
Christian Church ◽  
Other Hand ◽  
The Absolute ◽  
Modern Mass

›Ikonen‹ sind heute nicht mehr nur die Ikonen der christlichen Kirche, sondern vor allem die Ikonen der modernen Massenkultur. Beide Arten von Ikonen werden in der neueren Kunstreflexion aufgegriffen: Kunst gilt entweder, verstanden als Erbin der religiösen Ikone, als Phänomen, das Absolutes in singulärer Weise anschaulich er- fahrbar macht. Oder aber die Kunst gilt umgekehrt lediglich als Klasse in der Welt der säkularen Ikonen. Demgegenüber wird im Beitrag erstens die These vertretenwerden, daß die neuere Kunst sowohl Aspekte transzendenter als auch immanenter Ikonen umfaßt. Zugleich ist es aber, so die zweite These, für unser Kunstverständnis charakteristisch, ein theoretisches Kontrastverhältnis zwischen Kunst und Ikone an- zunehmen. Dieses gründet auf einer spezifischen Reflexivität der Kunst, durch die sie sich von der Ikone beiderlei Art kategorial unterscheidet. Today, the word ›icon‹ usually no longer refers to the icons of the Christian church, but to the icons of the modern mass-culture. Both sorts of icons play a key-role in the recent discussion about art: Either art is supposed to be a descendant of the religious icon, a phenomenon that gives us a singular visual experience of the Absolute. On the other hand, art is supposed to be just one class among others in the wide world of the secular icons. In contrast to these two positions this essay contends that modern art comprehends aspects of transcendent as well as of immanent icons. Furthermore, it argues that at the same time it is characteristic for our notion of art to suppose a contrast between art and icon. This contrast is based on a specific reflectivity of art, which marks a categorical difference between art and both sorts of icons.

Chinese toms in the making of the drum kit: Localization and exoticism

2021 ◽  
Vol 5 (2) ◽  
pp. 227-242 ◽  
Author(s):  
Henry Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Music Education ◽  
Popular Music ◽  
Musical Instruments ◽  
New Music ◽  
Late Nineteenth Century ◽  
The Future ◽  
Late Nineteenth

The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.

Harmonious Investigators of Nature: Music and the Persona of the German Naturforscher in the Nineteenth Century

2003 ◽  
Vol 16 (1-2) ◽  
pp. 121-145 ◽  
Author(s):  
Myles Jackson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Critical Role ◽  
Folk Songs ◽  
Cultural Resource ◽  
Early Nineteenth Century ◽  
Crucial Component ◽  
Choral Society ◽  
Scientific Identity ◽  
German Association

ArgumentDuring the early nineteenth century, the German Association of Investigators of Nature and Physicians (Versammlung Deutscher Naturforscher und Ärzte) drew upon the cultural resource of choral-society songs as a way to promote male camaraderie and intellectual collaboration. Investigators of nature and physicians wished to forge a unified, scientific identity in the absence of a national one, and music played a critical role in its establishment. During the 1820s and 30s, Liedertafel and folk songs formed a crucial component of their annual meetings. The lyrics of these tunes, whose melodies were famous folk songs, were rewritten to reflect the lives of investigators of nature and physicians. Indeed, the singing of these Liedertafel songs played an important part in the cultivation of the Naturforschers’ persona well into the twentieth century.

scholarly journals Hearing through the théâtrophone: Sonically constructed spaces and embodied listening in the late nineteenth-century French theatre

2016 ◽  
Vol 5 (1) ◽  
pp. 73-90 ◽  
Author(s):  
Melissa Van Drie
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Social Context ◽  
Late Nineteenth Century ◽  
Teenth Century ◽  
Late Nineteenth ◽  
French Theatre ◽  
Subscription Service ◽  
Theoretical Reflection ◽  
A Performance

This article presents a historical and theoretical reflection of the théâtrophone, a late nine- teenth-century telephone broadcast service that allowed users at a distance to listen in live to local theatre performances (spoken theatre, opera and musical concerts). Often cited as the first binaural experience in 1881, the théâtrophone’s much longer history as a subscription service, which operated in Paris from 1889 through the mid-1930s, is relatively unknown. This article considers what hearing through a théâtrophone meant to nineteenth- and twentieth- century users beyond its initial 1881 prototype. To hear through the théâtrophone means adopting a methodology mirroring the artefact itself: moving between social, professional, artistic, sensory registers. In doing so, the ways in which the théâtrophone was attuned to dis- course and practice emerge, as do more subtle processes involved in new nineteenth-century constructs of hearing and listening. Precisely the théâtrophone’s development is examined in relation to its particular social context: its installation on the spectacular Parisian boulevards and its relation to fin de siècle theatre culture. The article first investigates how theatrophonic listening was accorded to existent practices of theatre-going. Second, the article explores the more radical propositions of the théâtrophone in relation to important aesthetic and prac- tical changes occurring simultaneously in theatre culture. The théâtrophone’s virtual sonic experience multiplied the forms of a performance and its modalities of creation and recep- tion. Through accounts of ‘listening in’ the aspects of the new sonically constructed space are described, as are postures of early mediatised listening. The article posits that new modalities of listening are articulated through the théâtrophone, with certain users, including Proust, defining it as a monitoring and creative tool. In this capacity, ‘theatrophonic’ listening contrib- uted to the development of a refined ear, capable of detecting sonic nuance, which was central to artistic sensibilities at the time. 

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