The Ideal home, 1900-1920: the history of twentieth-century American craft

1994 ◽  
Vol 31 (08) ◽  
pp. 31-4178-31-4178
Keyword(s):  
Twentieth Century ◽  
History Of ◽  
The Ideal

scholarly journals Avatars de Raphaël Hythlodée, ou l'influence de l'Utopie de Thomas More dans le roman portugais contemporain

Moreana ◽  
2018 ◽  
Vol 55 (Number 209) (1) ◽  
pp. 61-78
Author(s):  
José Eduardo Reis
Keyword(s):  
Twentieth Century ◽  
Complex Traits ◽  
First Century ◽  
Thomas More ◽  
Western Literature ◽  
Cultural System ◽  
History Of ◽  
Twenty First Century ◽  
Representative Work ◽  
The Ideal

The history of the literary reception of Thomas More's Utopia in Portugal has been a tale of omissions, censorships and deferred translations that highlight a flaw within the Portuguese cultural system. Indeed, it is somewhat ironic that such a representative work of both Western literature and thought, historically associated with the opening of the world's geographical horizons, and which ascribed to a Portuguese sailor, Raphael Hythloday, the discovery of an ideal place, was first translated into Portuguese only in the second half of the twentieth century. However, the first decade of the twenty-first century seems to bode a more auspicious literary fortune for More's Utopia within the Portuguese literary idiom: not only has an edition of More's work finally been translated from the original Latin, but also two novels were published in 2004, A lenda de Martim Regos, by Pedro Canais, and Rafael, by Manuel Alegre. In the context of both books' plots, they rewrite the complex traits of the character of the Portuguese sailor and discoverer of the ideal island. The same reinvention of the character of Raphael had already been attempted, in 1998, by José V. de Pina Martins in his long dialogic Morean narrative, Utopia III. In this essay, I will focus both on the documental sources related to Portuguese culture that are at the root of More's Utopia and on some relevant aspects of the reception of the character of Raphael Hythloday within the aforementioned novels.

Michael Chekhov and the Search for the ‘Ideal’ Theatre

2006 ◽  
Vol 22 (3) ◽  
pp. 227-234 ◽  
Author(s):  
Andrei Kirillov
Keyword(s):  
Twentieth Century ◽  
English Language ◽  
Keynote Address ◽  
Language Version ◽  
The Arts ◽  
The Future ◽  
History Of ◽  
The Ideal ◽  
History And Theory

In a keynote address delivered at the Michael Chekhov symposium ‘Theatre of the Future?’, held at Dartington Hall in November 2005, Andrei Kirillov argued that Chekhov’s ideas have not yet been fully assimilated, pointing out that merely to follow his exercises without understanding their connection to the actor’s imagination and meditative as well as spiritual dimensions is to fail fully to understand him. Andrei Kirillov is a researcher and Assistant Chair at the Theatre Department of the Russian Institute of the History of the Arts. His numerous publications on the history and theory of Russian theatre include Michael Chekhov: the Path of the Actor, co-edited with Bella Merlin (2005), and Teatr Mikhaila Chekhova: Russkoye Akterskoye Iskusstvo XX veca (The Theatre of Michael Chekhov: the Art of Russian Acting in the Twentieth Century, 1993). Bella Merlin originally enhanced the English-language version of this lecture, and with the author’s approval it has been further edited by NTQ for publication.

Costa Rica and the 1920-1921 Union Movement: A Reassessment

1977 ◽  
Vol 19 (3) ◽  
pp. 393-418
Author(s):  
Richard V. Salisbury
Keyword(s):  
Twentieth Century ◽  
Costa Rica ◽  
Central America ◽  
Central American ◽  
Major Theme ◽  
American Federation ◽  
Union Movement ◽  
History Of ◽  
Entire History ◽  
The Ideal

Carlos Pereyra (as quoted in Herrarte, 1955: 187) has written that “the entire history of Central America has been a struggle between union and separatism.” While this may be somewhat overstated, it is undeniable that the unionist-separatist syndrome has provided a major theme for nineteenth- and twentieth-century isthmian interrelationships. Indeed, from the collapse of the original Central American Federation in 1838 to the recent failure of the Central American Common Market, isthmian leaders have made numerous attempts to achieve some form of Central American integration. At times the threat of a forceful imposition of union, posed by such men as Guatemala's Justo Rufino Barrios and Nicaragua's José Santos Zelaya, tended to discredit the unionist cause. Central American unionists, however, have been, if anything, resilient, and, despite temporary setbacks, the ideal of union has remained a constant in isthmian affairs.

Designing Objects and Spaces

2018 ◽  
Author(s):  
Bess Williamson
Keyword(s):  
Twentieth Century ◽  
People With Disabilities ◽  
Industrial Society ◽  
Disabled People ◽  
Design Culture ◽  
History Of ◽  
Late Twentieth ◽  
Late Twentieth Century ◽  
The Ideal

Design is a little-examined but significant factor in the history of disability, particularly in the context of the modern West. Both designers and users contributed to a history of design that sometimes ignored and sometimes addressed disability. For many modernist designers, the ideal of a “standard” or predictable body was key to a vision of an efficient industrial society, creating a world of objects and spaces that excluded or ignored disabled people. Nonetheless, people with disabilities engaged with design culture in distinctive ways, using and adapting mainstream designs to their own use. In the late twentieth century, the design world took up new goals of improving access, raising new questions about the intentions of designers and the role of users.

THE LONG HISTORY OF “IN SHORT”: MR. MICAWBER, LETTER-WRITERS, AND LITERARY MEN

2005 ◽  
Vol 33 (2) ◽  
pp. 415-433 ◽  
Author(s):  
Laura Rotunno
Keyword(s):  
Twentieth Century ◽  
The Novel ◽  
The World ◽  
Usual Line ◽  
History Of ◽  
David Copperfield ◽  
The Ideal

“‘LETTERS!’ … ‘I BELIEVE HE DREAMS IN LETTERS!’” so exclaims Betsey Trotwood of Mr. Micawber, the epistolary aficionado of Charles Dickens'sDavid Copperfield(664; ch. 54). David's aunt Betsey is not the only one to wonder at Micawber's prolific, albeit prolix, nature. His letters have made him a favorite of nineteenth- and twentieth-century readers alike; his “in short” has become one of the most memorable Dickensian tag-lines. But however much attention Micawber's epistolary endeavors garner, this notice fails to raise him to the position of respected writer–the position reserved for the eponymous hero of the novel. In the usual line of thinking, David stands as the ideal literary man while Micawber molders in the world of fantasy and comedy in which J. B. Priestley, James Kincaid, and J. Hillis Miller so securely position him.

Hard Objects in George Oppen's Discrete Series

2018 ◽  
Vol 13 (4) ◽  
pp. 496-517
Author(s):  
Ned Hercock
Keyword(s):  
Twentieth Century ◽  
Ludwig Wittgenstein ◽  
Discrete Series ◽  
Human Experience ◽  
John Ruskin ◽  
Gerard Manley Hopkins ◽  
Marcel Duchamp ◽  
The World ◽  
Production History ◽  
History Of

This essay examines the objects in George Oppen's Discrete Series (1934). It considers their primary property to be their hardness – many of them have distinctively uniform and impenetrable surfaces. This hardness and uniformity is contrasted with 19th century organicism (Gerard Manley Hopkins and John Ruskin). Taking my cue from Kirsten Blythe Painter I show how in their work with hard objects these poems participate within a wider cultural and philosophical turn towards hardness in the early twentieth century (Marcel Duchamp, Adolf Loos, Ludwig Wittgenstein and others). I describe the thinking these poems do with regard to industrialization and to human experience of a resolutely object world – I argue that the presentation of these objects bears witness to the production history of the type of objects which in this era are becoming preponderant in parts of the world. Finally, I suggest that the objects’ impenetrability offers a kind of anti-aesthetic relief: perception without conception. If ‘philosophy recognizes the Concept in everything’ it is still possible, these poems show, to experience resistance to this imperious process of conceptualization. Within thinking objects (poems) these are objects which do not think.

Review: Urban Latino Cultures: La Vida Latina en LA by Gustavo Leclerc, Raúl Villa, and Michael J. Dear (eds.)

1999 ◽  
Vol 22 (1) ◽  
pp. 126-128
Author(s):  
Catherine S. Ramirez
Keyword(s):  
Twentieth Century ◽  
Los Angeles ◽  
Mexican American ◽  
History Of ◽  
Crime Wave ◽  
Eighteenth And Nineteenth Centuries ◽  
The City ◽  
History Of Los Angeles

Throughout the twentieth century (and now the twenty-first), the specter of a Latina/o past, present, and future has haunted the myth of Los Angeles as a sunny, bucolic paradise. At the same time it has loomed behind narratives of the city as a dystopic, urban nightmare. In the 1940s Carey McWilliams pointed to the fabrication of a “Spanish fantasy heritage” that made Los Angeles the bygone home of fair señoritas, genteel caballeros and benevolent mission padres. Meanwhile, the dominant Angeleno press invented a “zoot” (read Mexican-American) crime wave. Unlike the aristocratic, European Californias/os of lore, the Mexican/American “gangsters” of the 1940s were described as racial mongrels. What's more, the newspapers explicitly identified them as the sons and daughters of immigrants-thus eliding any link they may have had to the Californias/os of the eighteenth and nineteenth centuries or to the history of Los Angeles in general.

Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch

2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen
Keyword(s):  
Twentieth Century ◽  
Instrumental Music ◽  
Primary Source ◽  
Gender And Sexuality ◽  
Benjamin Britten ◽  
Twentieth Century Music ◽  
History Of ◽  
Music Research ◽  
Symphonic Music ◽  
Biographical Knowledge

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.

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