scholarly journals Razzle Dazzle

2018 ◽  
Vol 33 (80) ◽  
pp. 29-42
Author(s):  
Jens Tang Kristensen
Keyword(s):  
Twentieth Century ◽  
Complex Form ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Visual Expression ◽  
The Military

Jens Tang Kristensen: “Razzle Dazzle. The Camouflaged Avant-Garde”This article demonstrates that Razzle Dazzle, a type of camouflage applied to war and merchant ships in the early twentieth century, can be seen as a complex form of visual expression that emerged in close dialogue with several of the avant-garde movements which appeared in the same period. In a sense Razzle Dazzle can thus further be seen as a mode by which the avant-garde was inadvertently integrated into the military sector, which certain avant-garde groups, namely the Futurists, idealized.

Introduction

2019 ◽  
pp. 1-20
Author(s):  
Andrew Byers
Keyword(s):  
Twentieth Century ◽  
Research Methodology ◽  
Legal Regulations ◽  
Medical Interventions ◽  
War Department ◽  
Early Twentieth Century ◽  
The Pacific ◽  
The Caribbean ◽  
The Military ◽  
The U.S

This chapter provides an overview of why the U.S. Army sought to address perceived problems caused by soldiers’ sexual interactions with civilians and other soldiers as the army deployed across the Caribbean and into the Pacific and Europe in the early twentieth century. Military planners, army leaders, War Department officials, and civilian observers of the military were intensely concerned about issues related to sexuality because they tended to believe that soldiers had irrepressible sexual needs that could cause harm to the army. The army also believed that by instituting a series of legal regulations and medical interventions, it could mitigate the damages to the institution arising from sex, while also shaping soldiers’ sexuality in ways the army and interested civilian parties might find more acceptable. The chapter describes the research methodology and chapter overviews for the book as a whole.

scholarly journals Punk Rock as Popular Theatre

2007 ◽  
Vol 23 (1) ◽  
pp. 35-48 ◽  
Author(s):  
Oliver Double
Keyword(s):  
Twentieth Century ◽  
Punk Rock ◽  
Popular Theatre ◽  
Avant Garde ◽  
Stand Up Comedy ◽  
Early Twentieth Century ◽  
Wide Range ◽  
Sex Pistols ◽  
Music Hall ◽  
The University

Punk rock performance consciously draws on popular theatre forms such as music hall and stand-up comedy – as was exemplified on the occasion when Max Wall appeared with Ian Dury at the Hammersmith Odeon. Oliver Double traces the historical and stylistic connections between punk, music hall and stand-up, and argues that punk shows can be considered a form of popular theatre in their own right. He examines a wide range of punk bands and performers – including The Sex Pistols, Iggy Pop, Devo, Spizz, The Ramones, The Clash, and Dead Kennedys – to consider how they use costume, staging, personae, characterization, and audience–performer relationships, arguing that these are as important and carefully considered as the music they play. Art movements such as Dada and Futurism were important influences on the early punk scene, and Double shows how, as with early twentieth-century cabaret, punk performance manages to include avant-garde elements within popular theatre forms. Oliver Double started his career performing a comedy act alongside anarchist punk bands in Exeter, going on to spend ten years on the alternative comedy circuit. Currently, he lectures in Drama at the University of Kent, and he is the author of Stand-Up! On Being a Comedian (Methuen, 1997) and Getting the Joke: the Inner Workings of Stand-Up Comedy (Methuen, 2005).

Ugliness, Underground, Queer Difference

2018 ◽  
pp. 1-25
Author(s):  
Yetta Howard
Keyword(s):  
Twentieth Century ◽  
Cultural Production ◽  
Literary History ◽  
Gertrude Stein ◽  
Avant Garde ◽  
Claude Mckay ◽  
Early Twentieth Century ◽  
The Aesthetic ◽  
Theoretical Overview

The introductory chapter of Ugly Differences provides a theoretical overview of the book and its central interventions on the concepts of ugliness and the underground. It turns to early-twentieth-century examples by Gertrude Stein and Claude McKay to frame genealogical connections between ugliness and queer female difference. This literary history highlights the roles that avant-garde, experimental, primitivist, and vernacular approaches to cultural production play in reflecting nondominant subjects whose differences are routed through de-privileged sites of the aesthetic.

Hieroglyphic Modernisms

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
British Museum ◽  
Silent Film ◽  
Avant Garde ◽  
Rosetta Stone ◽  
Early Twentieth Century ◽  
Modernist Fiction

In the British Museum, one object attracts more tourists than any other: the Rosetta Stone. The decipherment of the Stone by Jean-François Champollion and the discovery of King Tutankhamun’s tomb in 1922 contributed to creating a worldwide vogue for all things Egyptian. This fascination was shared by early-twentieth-century authors who invoked Egyptian writing to paint a more complicated picture of European interest in non-Western languages. Hieroglyphs can be found everywhere in modernist novels and in discussions of silent film, appearing at moments when writers and theorists seek to understand the similarities or differences between writing and new recording technologies. Hieroglyphic Modernisms explores this conjunction of hieroglyphs and modernist fiction and film, revealing how the challenge of new media spurred a fertile interplay among practitioners of old and new media forms. Showing how novelists and film theorists in the modernist period defined their respective media in relation to each other, the book shifts the focus in modernism from China, poetry, and the avant-garde to Egypt, narrative, and film.

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