Fellowship and philanthropy

Author(s):  
Derek Fraser

In this chapter the importance of mutual aid and philanthropic endeavour are stressed as a means of community cohesion and as a counter to the fragmentation so characteristic of the Leeds community. As with many other activities, the fellowship bodies were often associated with place of origin, later replaced by national bodies, such as B’nai Brith. The 140-year history of the Board of Guardians, later the Welfare Board, is traced with stress on the desire of Leeds Jewry to look after its own poor. The changing role of charities is explained by reference to the increase in state welfare in the twentieth century

2021 ◽  
pp. 25-54
Author(s):  
Brent Auerbach

Chapter 2 provides a brief history of the role of motives in Western music composition. Motive is posited as one of the several generative forces in music, alongside harmony, counterpoint, and form. Motive’s relative prominence is tracked in style periods of the last four centuries, with peak influence manifesting in the late Romantic and early twentieth-century periods. This changing role of motives is illustrated by a set of analyses of chronologically ordered pieces by Handel, Mozart, Brahms, Wagner, Holst, and Schoenberg. The musical examples, in addition to supporting the historical narrative, serve to introduce readers to the new conventions of nomenclature and rules motivic association that will be presented in detail in the methodology chapters of the book.


Author(s):  
Horacio Wio

Most of the studies of noise-induced phenomena assume that the noise source is Gaussian (either white or colored). Here we present recent results of some of those noise-induced phenomena when driven by a noise source taken as colored and non-Gaussian, generated by a nonextensive g-distribution. In all the cases analyzed we have found that the response of the system is strongly affected by a departure of the noise source from the Gaussian behavior, showing an enhancement and/or a marked broadening of the corresponding system's response. The general result is that the value of the parameter q, optimizing the system's response, results in q ≠ 1 (where q = 1 corresponds to a Gaussian distribution). These results are of great relevance for many technological applications as well as for some situations of medical interest, like the noisy control of Wenckebach rhythms…. Fluctuations (or noise) have had a changing role in the history of science. We can identify three different stages. During the a first one, which lasted until the end of nineteenth century, noise was considered a nuisance to be avoided or eliminated. In the second stage, which started at the beginning of the twentieth century, it was possible to extract more information from a physical system through the study of fluctuations via Onsager, fluctuation-dissipation, and other related relations. The third stage corresponds to the last few decades of the twentieth century, with the recognition that in many situations noise can actually play a driving role that induces new phenomena. Some examples are noise-induced phase transitions [18, 27, 28], noise-induced transport [2, 29, 34, 35], stochastic resonance [17], and noise-sustained patterns [18]. Most of the studies on the noise-induced phenomena indicated above assume that the noise source is Gaussian (either white or colored). In addition to the intrinsic interest in the study of non-Gaussian noises, there is some experimental evidence, particularly in sensory and biological systems [3, 16, 20, 30, 32, 39], indicating that in at least some of these phenomena the noise sources could be non-Gaussian. The use of non-Gaussian noises in such studies is rare, mainly due to the difficulties of handling them and to the possibility of obtaining some analytical results when working with Gaussian (particularly white) noises.


Author(s):  
Andrea Harris

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.


2020 ◽  
Vol 33 (3) ◽  
pp. 227-250
Author(s):  
Sjang L. ten Hagen

ArgumentThis article contributes to a global history of relativity, by exploring how Einstein’s theory was appropriated in Belgium. This may sound like a contradiction in terms, yet the early-twentieth-century Belgian context, because of its cultural diversity and reflectiveness of global conditions (the principal example being the First World War), proves well-suited to expose transnational flows and patterns in the global history of relativity. The attempts of Belgian physicist Théophile de Donder to contribute to relativity physics during the 1910s and 1920s illustrate the role of the war in shaping the transnational networks through which relativity circulated. The local attitudes of conservative Belgian Catholic scientists and philosophers, who denied that relativity was philosophically significant, exemplify a global pattern: while critics of relativity feared to become marginalized by the scientific, political, and cultural revolutions that Einstein and his theory were taken to represent, supporters sympathized with these revolutions.


1985 ◽  
Vol 20 (2-3) ◽  
pp. 182-205 ◽  
Author(s):  
Shabtai Rosenne

En s'efforçant, au lendemain de la guerre [1914 – 1918], de poser les bases d'une société de peuples régie par le droit, les fondateurs de cette communauté internationale nouvelle se rendaient pleinement compte qu'il ne saurait y avoir une société organisée sans un pouvoir judiciaire chargé de veiller, en dehors de toute préoccupation de politique et de force, à la stricte observation du droit. C'est dans cette conviction qu'ils ont prévu, dès l'origine, la création de la Cour permanente de Justice internationale.Feinberg in 1931Reviewing the history of the Permanent Court of International Justice and of the International Court of Justice from 1922—the World Court, a convenient but possibly misleading expression which embraces both the Permanent Court from 1922 to 1945 and the present International Court of Justice established as an integral part of the United Nations since—four clearly separated periods can be discerned. They run from 1922 to 1931, 1932 to 1940, 1946 to 1966, and from 1967 onwards.The establishment of the League of Nations and the Permanent Court after a cataclysmic war in Europe and the awe-inspiring Russian Revolution released a wave of euphoria upon the exhausted and war-weary peoples of what is now known as Western Europe, and they placed great hopes in the new League and Court.


Author(s):  
Rodney Brazier

This chapter examines the role of the monarchy in the history of the British constitution during the twentieth century, investigating how the constitutional power enjoyed by the sovereign gave way to constitutional influence and describing the changes the Parliament made to the law relevant to the Crown. It suggests that, for most of the twentieth century, sovereigns and their closest advisers recognised the continuing need to adapt the institution of monarchy so as to reflect changes in British society, and this involved further erosions in the sovereign's power.


2018 ◽  

This book reviews the role of British Foreign Secretaries in the formulation of British policy towards Japan from the re-opening of Japan in the middle of the nineteenth century to the end of the twentieth century. It also takes a critical look at the history of British relations with Japan over these years. Beginning with Lord John Russell (Foreign Secretary 1859-1865) and concluding with Geoffrey Howe (Secretary of State for Foreign & Commonwealth Affairs, 1983-1989), the volume also examines the critical roles of two British Prime Ministers in the latter part of the twentieth century, Edward Heath and Margaret Thatcher, who ensured that Britain recognized both the reality and the opportunities for Britain resulting from the Japanese economic and industrial phenomenon. Heath’s main emphasis was on opening the Japanese market to British exports. Thatcher’s was on Japanese investment. This volume is a valuable addition to the Japan Society’s series devoted to aspects of Anglo-Japanese relations which includes ten volumes of Britain & Japan: Biographical Portraits as well as British Envoys in Japan.


2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Richard Schechner

This essay by Richard Schechner dedicated to a mythical figure of the theater of the late twentieth century; a work of critical reconstruction that has contributed decisively to consolidating the legacy of Grotowski, just a few months after his death. In addition to fixing some essential terms of the vocabulary, together with the contents and the periodization of the Grotowskian work (aspects that Grotowski in life were entrusted exclusively to oral transmission), the essay retraces the formation of Grotowski, the aspects linked to his character, the specific forms of his research and his transmission of knowledge, the exercise of leadership, the role of his collaborators, the sources, the mystical side, his relationship with the spirit of time, the importance (and weakness) of his opera, in the history of twentieth century theater.


Author(s):  
Andrea Giardina

Marxism has slowly declined in recent literature on the economic and social history of the ancient world. If one happens to run into the name of Marx or the term Marxism, it is generally within the context of polemical remark. In spite of recurrent attempts to resuscitate it as an ideal foil for anti-Communist polemic, Marxism made its final exit from the field of ancient historical studies in the 1960s, when new Marxist and Marxist-inspired historiography came to the fore. This chapter discusses the changing role of Marxism in Italian history-writing. It focuses on the historians who claim themselves as Marxists, and those who employ Marxist categories and draw on Marxist theory yet refuse to be defined as Marxists. The chapter examines the debates of the different groups on the historiographic phase marked by the circulation of Marxist concepts, analytical tools, and models outside the strictly Marxist milieu. One of the most striking aspects of this phase is the existence of a trend for the formation of research groups that shared not only an affinity or ideological adherence to Marxism, but also an interest in historical theory and a similar orientation in cultural politics. These interdisciplinary approaches stimulated the confluence of individual competences in group projects aimed at singling out new topics and developing investigational strategies. This historiographic phase also reflected a sense of community, a refusal of traditional academic hierarchies, a wish to keep individualism in check, and the rejection of erudite isolation. In Italy, these forms of association served as a means for ethical and political self-representation of cultural hegemony.


Author(s):  
Patricia Emison

The span of this book is roughly that of directors who had started out in silent pictures reaching the end of their careers, including their transitions to color. The introduction of sound recording and color both transformed filmmaking, not least its cost. Misgivings were voiced early on about the moral effect of the new art, even as censorship was deplored. Mannerism as an art-historical concept was being developed to supplement that of Renaissance naturalism even as filmmakers were trying to reconcile the realism to which photography might seem suited with the artificiality it also enabled. Although studying the history of film inevitably dredges up evidence of racism, sexism, and other prejudices, the history of film, like the history of art, is too complex and has long been too deeply engrained in our cultural lives for historians to choose to be ignorant of once admired works we may now in part or thoroughly deplore, as well as minor yet elucidating works that may likewise be problematic, at least in part. The supposition that respect is the default response to any work of art underestimates the changing role of laughter and other forms of active disregard, particularly during the last century.


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