scholarly journals Aboriginal performance as war by other means in the nineteenth century

2015 ◽  
Vol 8 (2) ◽  
pp. 2-15
Author(s):  
Maryrose Casey
Keyword(s):  
Nineteenth Century ◽  
Cultural Practices ◽  
Aboriginal People ◽  
First Century ◽  
High Status ◽  
Indigenous Australian ◽  
Performance Space ◽  
The Face ◽  
Vast Range ◽  
Power Position

Commercial performances for entertainment are usually assumed to be lightweight, cultural activities that serve little or no serious purpose. Perhaps because of this typical perspective, prior to the mid-twentieth century, Indigenous Australian performances drawing on their cultural practices for entertainment are often styled as either the result of oppressive exploitation by colonisers or cultural tourism. However, an examination of Indigenous Australian initiated and controlled performances, for entertainment in the nineteenth century, reveals a more complicated picture. In Australia, across the nineteenth century and well into the twentieth, Aboriginal people and the colonisers actively fought for physical, psychological and emotional sovereignty of the land through thousands of performances for entertainment purposes. This might be expected given that Australian Aboriginal cultures are probably the most performance-based in the world—in the sense that explicit, choreographed performances were used for a vast range of social and cultural purposes from education, through to spiritual practices, arranging marriage alliances, to judicial and diplomatic functions. What might be less expected, considering the dominant power position, are the multiple ways in which the white audiences attempted to intrude, interrupt and inhabit these performances. The Aboriginal performers displayed their strength, vitality, high status and continued survival literally in the face of the colonisers and charged them a fee to observe. In response, white audiences both desired these performances and acted in ways to prevent them, often taking over the performance space and bringing events to a quick finish, while complaining that the show did not go on. The battle continued in white performances of Aboriginal practices and the ways in which Aboriginal performance was documented. In the twenty-first century, Aboriginal sportsmen who display their pride in their Aboriginality and opposition to racism continue to negotiate the same fight for space.

“What Comes From Men and Women Dancing”

2021 ◽  
pp. 173-184
Author(s):  
Sonia Gollance
Keyword(s):  
Nineteenth Century ◽  
First Century ◽  
Female Agency ◽  
Jewish Communities ◽  
Men And Women ◽  
Modern Culture ◽  
Dance Floor ◽  
The Face ◽  
Late Twentieth ◽  
Fictional Representations

The epilogue connects tropes of the nineteenth and early twentieth centuries of Jews, dance, and modernization with late twentieth- and twenty-first-century representations. Popular works such as Fiddler on the Roof (1964), Dirty Dancing (1987), Rebecca Goldstein’s Mazel (1995), Kerry Greenwood’s Raisins and Almonds: A Phryne Fisher Mystery (1997), Helene Wecker’s The Golem and the Jinni (2013), and Naomi Novik’s Spinning Silver (2018) reveal the continued efficacy of the mixed-sex dancing trope in fictional representations of Yiddish-speaking Jews. These works are often less didactic than nineteenth-century predecessors; they envision more opportunities for female agency and frequently end happily. Not only is the dance floor a flexible space, the dance trope is a flexible metaphor for the concerns of Jewish communities in the face of cultural transitions. In other words, the trope of Jewish mixed-sex dancing charts the particularities of the Jewish “dance” with modern culture.

scholarly journals Modern Rape-Revenge Movies and Shelley’s The Cenci

k ta ◽  
2020 ◽  
Vol 22 (2) ◽  
pp. 70-78
Author(s):  
Sahar Jamshidian ◽  
Fazel Asadi Amjad
Keyword(s):  
Nineteenth Century ◽  
Legal System ◽  
First Century ◽  
The Political ◽  
Female Victim ◽  
Prometheus Unbound ◽  
Second Wave Feminism ◽  
The Face ◽  
Traditional Pattern ◽  
Second Wave

Viewing Shelley’s The Cenci from the political upheavals of the nineteenth century would limit one’s response to the play to the issues of that century. However, this play continues to be played in the twenty first century, which makes one wonder how a modern spectator with a feminist inclination might react to the theme of rape and revenge. The Cenci shares with a number of movies flourishing with the rise of the second wave feminism during the 1970s, the theme of a female victim transformed into a hero-avenger, who takes law into her own hands and avenges herself in the face of a dysfunctional legal state. As revisions of the archetypal narratives of violation-revenge-violation, these modern movies have been praised for depicting heroines who are no longer powerless, miserable and victimized, but strong enough to avenge themselves with impunity. Though The Cenci repeats the traditional pattern of violation-revenge-violation, it focuses on the corruption and irresponsibility of the patriarchal legal system as well as its reformation, which have been neglected by both mythical narratives and modern rape-revenge movies. By reading The Cenci along with William Blake’s “Visions of the Daughters of Albion” and Shelley’s “Prometheus Unbound,” we examine how The Cenci challenges the modern rape-revenge movies and how Beatrice could have used her agency and her anger in a more effective way to fight against tyranny. 

scholarly journals Beyond belief : the crisis of faith in A.S. Byatt's fiction

2012 ◽  
Vol 10 ◽  
pp. 81
Author(s):  
Jennifer Anne Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
First Century ◽  
Fictional Narratives ◽  
Natural Development ◽  
Starting Point ◽  
Crisis Of Faith ◽  
The World ◽  
The Face ◽  
Norse Myth

A. S. Byatt’s Ragnarök (2011), a retelling of the Norse myth of the downfall of the gods and the end of the world, would seem to be a departure from her fictional narratives set in the nineteenth or twentieth century. However, this book is a natural development from her earlier novels that explored the Victorian crisis of faith resulting from the loss of religious certainty in the face of scientific discoveries. The author’s writing over the last twenty years has become increasingly involved with science, and she has long acknowledged her rejection of Christian beliefs. Byatt used the nineteenth century as a starting point for an exploration of twenty-first century concerns which have now resurfaced in the Norse myth of loss and destruction. This paper revisits "Possession" and "Angels and Insects" within the framework of her more recent writing, focusing on the themes of religion, spiritualism and science.

The Poverty of Posthumanism: Evolution and Extinction in Eugene Field's ‘Extinct Monsters’

2014 ◽  
Vol 7 (2) ◽  
pp. 180-197
Author(s):  
Peter Doherty
Keyword(s):  
Nineteenth Century ◽  
Children's Literature ◽  
Children’S Literature ◽  
First Century ◽  
Unpublished Manuscript ◽  
History Writing ◽  
Poetic Authority ◽  
The Face ◽  
Twenty First Century ◽  
Natural Histories

This article interrogates constructions of posthumanism in twenty-first century children's literature criticism and ecocriticism. Focusing on an unpublished manuscript by Eugene Field, it argues that the concept of species extinction undermines the theoretical usefulness of posthumanism. The paper begins by discussing the uses and shortcomings of posthumanism as a critical tool in children's literature. In doing so, it establishes connections with the challenge to the human posed by technology in the twenty-first century and the new understanding of what constitutes the human at the end of the nineteenth century. This paper documents intersections between Field's illustrated poem and contemporary representations of evolution and extinction circulating in popular and scientific natural histories. It is suggested that Field's text is also mediated by the visual traditions which framed contemporary natural history writing. Further, situating Field's poetry for children in a broader tradition of nineteenth-century American poetics committed to authorising the voice of the poet, it asks how this voice is complicated by the new realities of evolution and extinction. Confronted with these new realities, Field's manuscript traces the waning of poetic authority and, it is argued, thereby calls for a new aesthetics of children's literature in the face of extinction.

The Many Faces of Socioeconomic Change

2017 ◽  
Author(s):  
John Toye
Keyword(s):  
Socioeconomic Development ◽  
Adam Smith ◽  
First Century ◽  
Social Progress ◽  
Long Time ◽  
The Face ◽  
Scientific Expertise ◽  
The Many ◽  
Century Development

This book provides a survey of different ways in which economic sociocultural and political aspects of human progress have been studied since the time of Adam Smith. Inevitably, over such a long time span, it has been necessary to concentrate on highlighting the most significant contributions, rather than attempting an exhaustive treatment. The aim has been to bring into focus an outline of the main long-term changes in the way that socioeconomic development has been envisaged. The argument presented is that the idea of socioeconomic development emerged with the creation of grand evolutionary sequences of social progress that were the products of Enlightenment and mid-Victorian thinkers. By the middle of the twentieth century, when interest in the accelerating development gave the topic a new impetus, its scope narrowed to a set of economically based strategies. After 1960, however, faith in such strategies began to wane, in the face of indifferent results and general faltering of confidence in economists’ boasts of scientific expertise. In the twenty-first century, development research is being pursued using a research method that generates disconnected results. As a result, it seems unlikely that any grand narrative will be created in the future and that neo-liberalism will be the last of this particular kind of socioeconomic theory.

Rethinking Mahler

2017 ◽  
Keyword(s):  
Nineteenth Century ◽  
Structural Analysis ◽  
First Century ◽  
Late Nineteenth Century ◽  
Temporal Experience ◽  
Cultural Contexts ◽  
Late Nineteenth ◽  
Twenty First Century ◽  
Literature History ◽  
Historical Past

Gustav Mahler’s anniversary years (2010–11) have provided an opportunity to rethink the composer’s position within the musical, cultural and multi-disciplinary landscapes of the twenty-first century, as well as to reassess his relationship with the historical traditions of his own time. Comprising a collection of essays by leading and emerging scholars in the field, Rethinking Mahler in part counterbalances common scholarly assumptions and preferences which predominantly configure Mahler as proto-modernist, with hitherto somewhat neglected consideration of his debt to, and his re-imagining of, the legacies of his own historical past. It reassesses his engagement both with the immediate creative and cultural present of the late nineteenth century, and with the weight of a creative and cultural past that was the inheritance of artists living and working at that time. From a variety of disciplinary perspectives the contributors pursue ideas of nostalgia, historicism and ‘pastness’ in relation to an emergent pluralist modernity and subsequent musical-cultural developments. Mahler’s relationship with music, media and ideas past, present, and future is explored in three themed sections, addressing among them issues in structural analysis; cultural contexts; aesthetics; reception; performance, genres of stage, screen and literature; history/historiography; and temporal experience.

The Sino-Japanese War and the Collapse of the Qing and Confucian World Order in the Face of Japanese Imperialism and European Acquiescence

2018 ◽  
Author(s):  
Patrick Sze-lok Leung ◽  
Bijun Xu
Keyword(s):  
Nineteenth Century ◽  
International Law ◽  
East Asian ◽  
World Order ◽  
Foreign Minister ◽  
Late Nineteenth Century ◽  
Japanese Imperialism ◽  
The Face ◽  
Late Nineteenth

The First Sino-Japanese War (1894–95) has been perceived as a sign of a new East Asian power order, but the legitimacy of the war has yet to be clarified. The Japanese foreign minister Mutsu’s Kenkenroku shows that the reasons claimed by Japan were only pretexts for its ambition to put Korea under its control. The 1885 Convention of Tianjin, which was used to justify the Japanese behaviour, needs to be reinterpreted. The Chinese reaction can be understood by exploration into Confucianism, which opposed wars between equal peers. Meanwhile, the Western powers which invented and developed international law were self-interested and did little to prevent the war. The incident shows that international law, empowered by the strong states, failed to maintain peace efficiently in the late nineteenth century.

History of Recording Demotic Epigraphy

2020 ◽  
pp. 491-507
Author(s):  
Jan Moje
Keyword(s):  
Nineteenth Century ◽  
Seventh Century ◽  
First Century ◽  
Third Century ◽  
Late Period ◽  
Greco Roman ◽  
Rosetta Stone ◽  
Roman Egypt ◽  
History Of ◽  
Twenty First Century

This chapter gives an overview of the history of recording and publishing epigraphic sources in Demotic language and script from the Late Period to Greco-Roman Egypt (seventh century bce to third century ce), for example, on stelae, offering tables, coffins, or votive gifts. The history of editing such texts and objects spans over two hundred years. Here, the important steps and pioneering publications on Demotic epigraphy are examined. They start from the beginning of the nineteenth century, when Napoleon’s expedition to Egypt found the Rosetta stone, until the twenty-first century.

American Custom, Ritual, and Holidays

2018 ◽  
pp. 255-276
Author(s):  
Jack Santino
Keyword(s):  
Nineteenth Century ◽  
Life Course ◽  
First Century ◽  
The Political ◽  
Public Events ◽  
Close Study ◽  
Twenty First Century ◽  
The Life Course ◽  
Comprehensive Study

Since the nineteenth century, attention in folklore and folklife studies has shifted from viewing certain customary symbolic actions such as “calendar customs” and rituals of the life course to a more inclusive performance-oriented perspective on holidays and customs. Folklorists recognize the multiplicity of events that people may consider ritual and festival, and the porous nature of these categories. The concept of the “sacred” has expanded to include realms other than the strictly religious, so as to include the political and other domains, both official and unofficial. A comprehensive study of ritual and festival incorporates a close study of folk and popular actions as well as institutional ceremony. In the twenty-first century, approaching events as both carnivalesque and ritualesque allows folklorists to describe purpose and intention in public events, and to account for political, commemorative, celebratory, and festive elements in any particular event.

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