‘Panoramas’ and ‘Living Pictures’: Dr Barnardo’s Annual Meetings

2016 ◽  
pp. 213-236
Author(s):  
Susan Ash
Keyword(s):  
Nineteenth Century ◽  
Social Change ◽  
Social Welfare ◽  
Close Relation ◽  
First Century ◽  
Annual General ◽  
The Real ◽  
High Profile ◽  
Welfare Work ◽  
Twenty First Century

This chapter analyses how Barnardo created spectacle from the massed exhibition of child bodies in the annual general meetings and fêtes held in Barnardo’s homes and in high-profile public venues such as the Royal Albert Hall. It focuses on spectacle as integral to the philanthropic agenda, such as scale, the boundaries between the real and performed, and the capacity to ‘move’ an audience in a context of amplified emotionality. Barnardo used spectacle to create capital and to represent social change to his supporters. The close relation of spectacle with disaster is crucial; the orchestrated spectacles conveyed both the underlying potential for, and the spectator’s vulnerability to, unleashed catastrophe should they choose not to contribute. Although Barnardo repudiated theatre and associated performance, he nevertheless devised spectacles that presented his brand in highly positive terms as another form of coherent narrative about child reform in the nineteenth century, and the organization’s social welfare work into the twenty-first century.

Black Diasporic Gothic

2019 ◽  
pp. 289-303
Author(s):  
Maisha Wester
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
African Diaspora ◽  
Black Writers ◽  
Knowledge Systems ◽  
First Century ◽  
The Real ◽  
Twenty First Century

Black Diasporic Gothic can trace its origins back to the nineteenth century at the height of the Gothic’s appearance, when many black writers began to appropriate the genre to describe the real horrors of existence within racially oppressive and enslaving societies. However, many twenty-first-century Black Gothic texts suggest that modifying traditional Gothic monsters is not enough to create subversive work.Rather modern texts such as Jeremy Love’s Baypu (2009-10), Helen Oyeyimi’sWhite is for Witching (2009) and Jordan Peele’s Get Out (2017) force Western readers out of their region and tradition entirely by introducing monsters from the African Diaspora, creatures recording the horror of physical and cultural theft even as they demand recognition of a pre-encounter cultural history. In each text, marginalised characters are able to recognise, define and combat monstrous assailants primarily because they exist outside of dominant ideological systems. Thus twenty-first century Black Gothic texts posit the existence of radically alternative, and ultimately liberating, knowledge systems within marginalised locations.

Marry Me?

Love, Inc. ◽  
2019 ◽  
pp. 83-112
Author(s):  
Laurie Essig
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
First Century ◽  
Financial Resources ◽  
The Real ◽  
Early Twentieth Century ◽  
Real Change ◽  
History Of ◽  
Twenty First Century ◽  
Diamond Ring

Getting engaged now requires more emotional and financial resources than ever before. Here Essig traces the history of engagements from the birth of companionate marriages in the nineteenth century to the invention of rituals like the bended knee and fetish items like the diamond ring in the early twentieth century. But the real change happened at the beginning of the twenty-first century, as engagements became “spectacular,” requiring not just highly staged events but also highly produced videos and images that could then be disseminated to the larger world.

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.

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.

3D-printed Futures of Manufacturing, Social Change and Technological Innovation in China and Singapore: The Ghost of a Massless Future?

2019 ◽  
Vol 24 (2) ◽  
pp. 254-270 ◽  
Author(s):  
Luke Heemsbergen ◽  
Angela Daly ◽  
Jiajie Lu ◽  
Thomas Birtchnell
Keyword(s):  
Social Change ◽  
3D Printing ◽  
Technological Innovation ◽  
First Century ◽  
Global Knowledge ◽  
Law And Technology ◽  
3D Printed ◽  
Twenty First Century ◽  
Political Economic

This article outlines preliminary findings from a futures forecasting exercise where participants in Shenzhen and Singapore considered the socio-technological construction of 3D printing in terms of work and social change. We offered participants ideal political-economic futures across local–global knowledge and capital–commons dimensions, and then had them backcast the contextual waypoints across markets, culture, policy, law and technology dimensions that help guide towards each future. Their discussion identified various contextually sensitive points, but also tended to dismiss the farthest reaches of each proposed ideal, often reverting to familiar contextual signifiers. Here, we offer discussion on how participants saw culture and industry shaping futures for pertinent political economic concerns in the twenty-first century.

scholarly journals Charulata 2011: Dramatizing the Glocal

2020 ◽  
Vol 73 (3) ◽  
pp. 545-557
Author(s):  
Rituparna Roy
Keyword(s):  
Nineteenth Century ◽  
South Asian ◽  
First Century ◽  
Anna Karenina ◽  
Madame Bovary ◽  
The World ◽  
Twenty First Century ◽  
Satyajit Ray

AbstractA lonely wife in Kolkata and a bachelor in London have a virtual affair, but are forced to re-think their relationship when they discover he is her brother-in-law. Charulata 2011 is an ingenious post-millennial adaptation of Tagore’s novella, Nastanir (The Broken Nest, 1901), already immortalized by Satyajit Ray in his classic Charulata (1964). This intertextuality, especially with Ray, lends an added dimension to the film, allowing Chatterjee to contrast two modernities in Bengal – the colonial and glocal – over the course of a century. Both these women gain temporary respite from their suffocating marriage through an affair, but their circumstances are vastly different. While Tagore/Ray’s heroine (like Anna Karenina, Madame Bovary and Lady Chatterley) could only bond with a man she knew, technology expands Charulata’s choice in 2011. She romances the strange and the unknown – an unseen tall dark stranger with a gift for words. While the nineteenth century Bengali heroine had to reign in her erotic impulse, her twenty-first century counterpart submits to it, though with an overwhelming sense of guilt. But there are similarities too – both are childless homemakers; have a literary sensibility; and though a 100 years apart, in both their cases, the lover eventually departs, and duty ultimately wins over passion, bringing back the duly chastened wife to the wronged husband. Charulata 2011 thus dramatizes a glocalized South Asian narrative, where the protagonist negotiates an uneasy juxtaposition of a globalized outlook on the world with the entrapment of age-old social obligations in her self.

Random Pandemic Perambulations: A Brief History of Literary Walks in the Age of Corona

2021 ◽  
Vol 18 (2-3) ◽  
pp. 187-207
Author(s):  
Peter Arnds
Keyword(s):  
Nineteenth Century ◽  
First Century ◽  
History Of ◽  
Oriented Movement ◽  
Twenty First Century

This article focuses on the concept of randomness as the absence of goal-oriented movement in literary walks. The literature of walking displays the happenstance of adventure as one of the great antidotes to our inane, highly technologized, digitalized twenty-first-century lifestyle. In the end, however, such randomness may reveal itself as not so random after all, as the purpose of the journey, its inherent telos, discloses itself while travelling or in hindsight. This article provides brief glimpses into the history of literary walks to examine this tension between apparent randomness and the non-random. By drawing on a range of cultural theories and theorizations of travel and especially of walking, I look at literary foot travel in the nineteenth century, the Romantics and American Transcendentalists, some great adventure hikes in the twentieth and twenty-first centuries, and the urban and rural flâneur. In doing so the article does not lose sight of the question of how we can instrumentalize the literature of walking for life during the current pandemic.

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