The domestication of the earth

2003 ◽  
Author(s):  
Ian Simmons
Keyword(s):  
Twentieth Century ◽  
Solar Energy ◽  
Subject Matter ◽  
Human Life ◽  
Ecological Theory ◽  
Hunter Gatherers ◽  
The Holocene ◽  
The Earth ◽  
Late Twentieth ◽  
Late Twentieth Century

The domestication of the earth entails the enfolding of ‘nature’ into human life and society. This chapter focuses on the millennia of the Holocene, when human societies consisted of food collectors and agriculturalists who essentially lived off recently fixed solar energy. In the course of its last 100 years, geography has from time to time taken in, and focused its attention on, diverse approaches to its subject matter. But as a ground bass to these variations, the relation between humans and the environment has persisted, though sometimes virtually at sotto voce level. In part, geography's attention has concentrated on landscapes as visible demonstrations, past and present, of these interrelations, but it has also taken an approach based explicitly on late-twentieth-century ecological theory. This chapter examines humans as hunter-gatherers during prehistoric times, along with the emergence of agriculture in Britain.

Lisa Philip Valentine & Regna Darnell (eds.), Theorizing the Americanist tradition. Toronto and Buffalo: University of Toronto Press, 1999. Pp. 397. Hb $29.95.

2001 ◽  
Vol 30 (2) ◽  
pp. 336-339
Author(s):  
Julie Cruikshank
Keyword(s):  
Twentieth Century ◽  
Subject Matter ◽  
Critical Ethnography ◽  
Current Work ◽  
Historical Narratives ◽  
University Of Toronto ◽  
Real People ◽  
Late Twentieth ◽  
Work Narratives ◽  
Late Twentieth Century

A recurring theme in late twentieth century anthropology has been the need to reinvent questions, subject matter, theoretical underpinnings, methods, and ethics central to our research. While all disciplines have their own historical narratives, those told about anthropology are especially fractured along lines of continuity and transformation. Narratives of rupture gained an upper hand during the final decades of the twentieth century, undoubtedly as part of an effort to construct a disciplinary future not so inevitably shaped by forces of a colonial past. But one consequence of imaginative reinvention can be forgetfulness that merges with hubris when we fail to acknowledge how old legacies contribute to current work. Narratives of connection are emerging again, reclaiming a legacy grounded in critical ethnography that engages the lives of real people, partly as a reaction to the detachment of text-based “cultural studies.”

Beyond instrumental use: a study of writing on architectural drawings in the late twentieth century

2018 ◽  
Vol 22 (1) ◽  
pp. 41-54
Author(s):  
Sonit Bafna ◽  
Hoyoung Kim
Keyword(s):  
Social Networks ◽  
Twentieth Century ◽  
Subject Matter ◽  
Discursive Practice ◽  
Architectural Drawings ◽  
Architectural Practice ◽  
Sudden Rise ◽  
New Type ◽  
Late Twentieth ◽  
Late Twentieth Century

The 1980s witnessed a sudden rise of writing and thinking about architectural drawings and their conventions. At about the same time, there also emerged a trend of a new type of presentational drawing in architecture, in which drawings were very complex to the point of undecipherability, graphically sophisticated, and sometimes seemingly created for their own sake rather than to represent a particular architectural project. Upon reviewing the texts on drawings from this period, two important insights are made about the use of presentational drawings in architectural practice and their relation to theory. First, that making of architectural drawings can constitute practice in its own right and such practice, if developed experimentally, leads theory, rather than lagging it and serving to validate it. Second, architectural drawings, over and above communicating information about their subject matter, can also function as a means to create social networks of discursive practice. These insights lead to an unexpected question concerning the distinctiveness of architectural practice itself.

scholarly journals Hungarian Sculpture of the Late Twentieth Century. At the Intersection of Romanticism and Pop Art

2019 ◽  
Vol 15 (4) ◽  
pp. 108-135
Author(s):  
Igor Svetlov
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Pop Art ◽  
Art Exhibition ◽  
Dynamic Activity ◽  
Environmental Objects ◽  
The World ◽  
Late Twentieth ◽  
The City ◽  
Late Twentieth Century

Developing intensively and in its own way throughout the 20th century, Hungarian sculpture has gained recognition as one of the leading European schools. Much in its creative image was determined between the two world wars when romantic tonality, combining dynamic activity and plastic flexibility, became a high priority. Romantic pantheism made itself felt in the artistic works of the Hungarians, successfullyshown at the All-Union Art Exhibition in Moscow in 1957-1958. The appeal to the motives and forms of nature enriched the human modulus of Hungarian sculpture.The period between 1960-1970 is its most fruitful time. The combination of romantic concepts and themes with object textures and aesthetics of simplicity, inherent in pop art, among the masters of the older generation, Imre Varga and Erzsébet Schaár who were recognized in Europe, was the biggest event among the variants of its creative movement. Imre Varga’s evolution in this direction, from grotesque-naturalistic publicism to the use of pop art techniques as a means of the dramatic theatricalization of human life and history, is illustrated in the article. Varga developed a synthesis of the pop art-inspired landscape and romantic portrait in the best monuments of these decades. In Erzsébet Schaár’s art, the objective world more than once turned into an artistic metaphor of independent significance. However, for her, the most important meeting of romanticism and pop art happened, the same as for Varga, in the search for synthesis and the creation of an ensemble. Her Street, which is exhibited in the city of Pecs, is perceived as a combination of symbolic figures and environmental objects, imbued with the idea of infinity of the world.

Nine Centuries of Man

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Diverse Range ◽  
Gender Expectations ◽  
Court Records ◽  
The Past ◽  
Wide Range ◽  
Police Reports ◽  
Late Twentieth ◽  
Scottish History ◽  
Late Twentieth Century

What did it mean to be a man in Scotland over the past nine centuries? Scotland, with its stereotypes of the kilted warrior and the industrial ‘hard man’, has long been characterised in masculine terms, but there has been little historical exploration of masculinity in a wider context. This interdisciplinary collection examines a diverse range of the multiple and changing forms of masculinities from the late eleventh to the late twentieth century, exploring the ways in which Scottish society through the ages defined expectations for men and their behaviour. How men reacted to those expectations is examined through sources such as documentary materials, medieval seals, romances, poetry, begging letters, police reports and court records, charity records, oral histories and personal correspondence. Focusing upon the wide range of activities and roles undertaken by men – work, fatherhood and play, violence and war, sex and commerce – the book also illustrates the range of masculinities that affected or were internalised by men. Together, the chapters illustrate some of the ways Scotland’s gender expectations have changed over the centuries and how, more generally, masculinities have informed the path of Scottish history

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

A New Denominational Historiography?

1995 ◽  
Vol 5 (2) ◽  
pp. 249-263
Author(s):  
John F. Wilson
Keyword(s):  
Twentieth Century ◽  
Recent Analysis ◽  
General Factor ◽  
Religious Organization ◽  
Religious Institution ◽  
Large Numbers ◽  
The Status ◽  
Late Twentieth ◽  
American Society ◽  
Late Twentieth Century

Over the last decade, a noteworthy number of published studies have, in one fashion or another, been defined with reference to religious denominations. This is an arresting fact, for, coincidentally, the status of religious denominations in the society has been called into question. Some formerly powerful bodies have lost membership (at least relatively speaking) and now experience reduced influence, while newer forms of religious organization(s)—e.g., parachurch groups and loosely structured movements—have flourished. The most compelling recent analysis of religion in modern American society gives relatively little attention to them. Why, then, have publications in large numbers appeared, in scale almost seeming to be correlated inversely to this trend?No single answer to this question is adequate. Surely one general factor is that historians often “work out of phase” with contemporary social change. If denominations have been displaced as a form of religious institution in society in the late twentieth century, then their prominence in earlier eras is all the more intriguing.

Archaeology, Historicity, and Homosexuality in the New Cultus of Antinous

2018 ◽  
Vol 8 (2) ◽  
pp. 237-259
Author(s):  
Ethan White
Keyword(s):  
Twentieth Century ◽  
Gay Men ◽  
Second Century ◽  
Roman Emperor ◽  
Late Twentieth ◽  
Late Twentieth Century

In the second century, the Roman Emperor Hadrian deified his male lover, Antinous, after the latter drowned in the Nile. Antinous’ worship was revived in the late twentieth century, primarily by gay men and other queer-identified individuals, with Antinous himself being recast as “the Gay God.”

Sign in / Sign up

Export Citation Format

Share Document