Trending

On Trend ◽  
2019 ◽  
pp. 25-41
Author(s):  
Devon Powers

Chapter 1 begins in early twentieth-century America and offers a prehistory of trend forecasting. The era saw society swiftly modernizing; in turn, the social sciences were producing a surfeit of data about life and culture. Observers, social critics, and government technocrats began to think of these data as predictive and explored how they could be used to make decisions and dampen uncertainty about the future. In light of these developments, “trends” emerged as a tool, allowing data to be used to anticipate change. The chapter highlights the 1933 study Recent Social Trends as a primary example of how trends could be used to manage uncertainty. The chapter also documents how trends served these ends in the burgeoning forecasting professions, including weather, economics, and fashion.

Human Affairs ◽  
2017 ◽  
Vol 27 (3) ◽  
Author(s):  
Francisco Javier Ullan de la Rosa

AbstractThe article revisits the debate between the positivists and non-positivists currents in sociology in the late nineteenth and early twentieth century, concluding that it is actually a false debate, due to the fact that, beyond their differences, both shared some of the basic principles of the paradigm of modernity. From this historical analysis the article seeks to draw lessons for the social sciences in the present, at a time when these seem to have reached a certain synthesis between the modern and postmodern epistemologies. The article shows us that such a synthesis was already prefigured in the writing of classical theorists as it is, in fact, an ineluctable structural law of science itself if it wants to escape from the trap of skepticism and epistemological nihilism. The article also explores how, as a consequence of the pervasiveness of the modern paradigm, a common ethnocentric bias can be traced in all the fathers of sociology and wonders whether sociology today has actually got rid of this problem.


Futures ◽  
2021 ◽  
pp. 51-68
Author(s):  
Sandra Kemp

This essay analyses the role of museums in the creation of futures imaginaries and the ways in which these are embedded in socio-political narratives over time (narratives of nation, empire, power, consumption, and home). The essay tests its hypotheses through charting the evolution of the nineteenth-century phenomenon of the soirée—exhibitions and events showcasing technological, scientific, and cultural innovations of the future—from their heyday in the mid nineteenth century to their demise in the early twentieth century. In particular, the essay explores the social, spatial, and temporal organization of nineteenth- and early twentieth-century soirée display spaces as carriers of future worlds. It argues that the creation of futures imaginaries depends on interrelationships between people and objects across space and time, and that the complex web of relations established between words, objects, spaces, and people in exhibitions provides catalysts for ideas, ideologies, and narratives of the future.


Author(s):  
Christopher A. Cooper ◽  
H. Gibbs Knotts

The concluding chapter ties together key findings from previous chapters, highlights the book’s theoretical contributions, building on the social identity literature reviewed in chapter 1. The concluding chapter reinforces the idea that southern identity remains, but that the shape of twenty-first century southern identity is different from twentieth-century identity. The concluding chapter closes with a discussion of the future of southern identity and a prediction that regionalism and regional distinctiveness will only become more pronounced in an increasingly interconnected world.


2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.


2019 ◽  
Vol 101 (4) ◽  
pp. 357-395 ◽  
Author(s):  
Saty Satya-Murti ◽  
Jennifer Gutierrez

The Los Angeles Plaza Community Center (PCC), an early twentieth-century Los Angeles community center and clinic, published El Mexicano, a quarterly newsletter, from 1913 to 1925. The newsletter’s reports reveal how the PCC combined walk-in medical visits with broader efforts to address the overall wellness of its attendees. Available records, some with occasional clinical details, reveal the general spectrum of illnesses treated over a twelve-year span. Placed in today’s context, the medical care given at this center was simple and minimal. The social support it provided, however, was multifaceted. The center’s caring extended beyond providing medical attention to helping with education, nutrition, employment, transportation, and moral support. Thus, the social determinants of health (SDH), a prominent concern of present-day public health, was a concept already realized and practiced by these early twentieth-century Los Angeles Plaza community leaders. Such practices, although not yet nominally identified as SDH, had their beginnings in the late nineteenth- and early twentieth-century social activism movement aiming to mitigate the social ills and inequities of emerging industrial nations. The PCC was one of the pioneers in this effort. Its concerns and successes in this area were sophisticated enough to be comparable to our current intentions and aspirations.


Author(s):  
Melinda Powers

The Introduction begins by providing a brief overview of the reception of Greek drama by under-represented communities in nineteenth- and early-twentieth-century America. After situating the book’s topic within this historical timeline, it proceeds to explain the development of the project, the focus on live theatre, the choice of productions, and the reasons for them. It defines terms, provides disclaimers, explains the methodology used, clarifies the topic, situates it within its historical moment, summarizes each of the chapters, describes the development of the ‘democratic turn’ in Greek drama, and finally speculates on the reasons for the appeal of Greek drama to artists working with under-represented communities.


Author(s):  
Rebecca Colesworthy

Chapter 1 takes a cue from recent anthropologists who have stressed the influence of Mauss’s socialism on his sociological work. Returning to Mauss’s The Gift, the chapter argues that what links his essay to the experimental writing of his literary contemporaries is not their shared fascination with the primitive, as other critics have suggested, but rather their shared investment in reimagining social possibilities within market society. Mauss was, as his biographer notes, an “Anglophile.” Shedding light on his admiration of British socialism and especially the work of Beatrice and Sidney Webb—friends of Virginia and Leonard Woolf—as well as competing usages of the language of “gifts” in the social sciences and the arts, the chapter ultimately provides a new material and conceptual framework for understanding the intersection of largely French gift theory and Anglo-American modernist writing.


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