scholarly journals Modernidad, progreso y desarrollo: imaginarios de futuro alrededor de la minería del oro en Colombia

Digithum ◽  
2018 ◽  
Author(s):  
Mayra Natalia Parra ◽  
Wilmar Alexander Cano
Keyword(s):  
Twentieth Century ◽  
Gold Mining ◽  
Mining Activity ◽  
Cultural Dimensions ◽  
Historical Overview ◽  
Alternative Models ◽  
Major Threat ◽  
Early Twentieth Century ◽  
The Future

In Colombia, imaginaries of the future woven around gold mining have been shaped and cemented through the promotion of images and figures linked to discourses of progress, development, modernity and wealth. This paper outlines a historical overview of these various imaginaries, clearly showing that, while some differences exist between periods, continuities can be observed among representation schemes built to perceive and conceive mining as well as its relationship with the future. It is argued that the mining activity has relied on narratives with fundamentally symbolic and cultural dimensions, which has enabled its establishment, consolidation and expansion across Colombia since the early twentieth century. The paper concludes that there are conflicting imaginaries about mining today, additionally, it points out that the predominance of pro-mining narratives poses a major threat as they tend to legitimize the ruling power, to prevent the emergence of alternative models of society and to make dissenting voices invisible.

Revaluations through Dance: Friedrich Nietzsche's Thought in Isadora Duncan's Speech The Dance of the Future

2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters
Keyword(s):  
Twentieth Century ◽  
The Body ◽  
Eternal Recurrence ◽  
Early Twentieth Century ◽  
Starting Point ◽  
The Future ◽  
The Mind

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.

The Meaning[s] of "Without": An Exploration of Liszt's Bagatelle ohne Tonart

2004 ◽  
Vol 27 (3) ◽  
pp. 230-262 ◽  
Author(s):  
David Berry
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Musical Thought ◽  
Early Twentieth Century ◽  
The Future ◽  
Piano Composition ◽  
Musical Evolution ◽  
Future Direction ◽  
Theoretical Issues ◽  
The Way

In this essay, I explore historical and theoretical issues germane to an understanding of an 1885 piano composition with an intriguing title: LisztÕs Bagatelle ohne Tonart--a bagatelle "without tonality" or "without a key." After briefly describing the workÕs history and musical associations with other compositions by Liszt, I survey two present-day approaches that reveal ways in which the work defies tonality: octatonic interpretations via set-class examinations, and Schenker-influenced prolongational models. I then turn to focus instead on how the Bagatelle fit within the framework of nineteenth-century musical thought; how its processes were supported by contemporaneously evolving theories of chromaticism. Partly through an analysis based on the practice of Gottfried Weber (1779-1839), I demonstrate that the Bagatelle is not a piece "without tonality" as much as it is one "without the fulfillment of the tonic." It maintains harmonic tension by avoiding anticipated resolutions, as well as by preserving a sense of ambiguity as to what the actual "missing" key is. Next, I consider why Liszt was prompted to write a piece in such a manner. We know that he was a proponent of musical progress--of Zukunftsmusik ("music of the future")--but for this fact to be relevant we must confirm, first, that Liszt had definite ideas about a Zukunftsharmoniesystem; and second, that such a system is reflected in the processes exhibited by the Bagatelle. I argue that the BagatelleÕs traits are indeed in accordance with theoretical views about musicÕs future direction, to which Liszt subscribed. Relevant theories of Karl Friedrich Weitzmann (1808-80) and Franois-Joseph FŽtis (1784-1871) are assessed. Lastly, in a "Schoenbergian epilogue" I explore connections between LisztÕs operations and SchoenbergÕs ideas, addressing historical associations that conjoin their views of composing "ohne Tonart."I conclude that the 1885 BagatelleÕs attenuation of tonality was part of a tradition that extended from the mid-nineteenth into the early twentieth century--one that stretched from Liszt and his contemporaries through Schoenberg and his pupils and beyond, embracing along the way the theoretical prescriptions of Weitzmann, FŽtis, and Schoenberg himself. The various threads of theory and analysis explored in this article contribute to an understanding of the same strand of musical evolution: the increasing circumvention of tonality to the point that a piece could be written "ohne Tonart."

“A School in the Interior” African Studies: Engagement and Interdisciplinary

2011 ◽  
Vol 54 (1) ◽  
pp. 1-17 ◽  
Author(s):  
Charles Ambler
Keyword(s):  
Twentieth Century ◽  
African Studies ◽  
Racial Justice ◽  
Area Studies ◽  
Early Twentieth Century ◽  
Intellectual Traditions ◽  
The Future ◽  
Late Nineteenth ◽  
Contemporary Practice

Abstract:This article explores the intellectual traditions of African studies, focusing on the central principles of interdisciplinarity and commitment to social and racial justice. Tracing the origins of the field to late nineteenth- and early twentieth-century African is t intellectuals such as Edward Blyden, it investigates these traditions historically and in the context of contemporary practice. Against the backdrop of concerns for the future of area studies, the author finds a vibrant field—both inside and beyond its traditional boundaries.

The Ether at the Crossroads of Classical and Modern Physics

2018 ◽  
Author(s):  
Imogen Clarke
Keyword(s):  
Twentieth Century ◽  
Traditional Approach ◽  
Classical Physics ◽  
Substantial Role ◽  
Early Twentieth Century ◽  
The Future ◽  
Modern Physics ◽  
British Case ◽  
Arthur Stanley Eddington ◽  
Oliver Lodge

This chapter aims to liberate the ether from its historiographical assignment to classical physics, instead considering its role in debates surrounding the future of the discipline. Focusing on the British case, it explores the discussions underway in professional spaces between 1909 and 1914, suggesting that a physicist’s commitment to the ether does not classify them as a ‘classicist’ but rather as an advocate of continuity in the discipline. It then examines the ether’s ‘popular’ life following the well-publicised 1919 eclipse expedition, and the subsequent expository efforts by the ‘classical’ Oliver Lodge and ‘modern’ Arthur Stanley Eddington. By moving beyond a traditional approach that divides physics and physicists into classical and modern, this chapter suggests a more substantial role for the ether in professional and popular early twentieth-century British physics.

Contemporary Infinitesimalist Theories of Continua and Their Late Nineteenth- and Early Twentieth-Century Forerunners

2020 ◽  
pp. 502-570
Author(s):  
Philip Ehrlich
Keyword(s):  
Differential Geometry ◽  
Twentieth Century ◽  
Nonstandard Analysis ◽  
Historical Overview ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
Surreal Numbers

The purpose of this chapter is to provide a historical overview of some of the contemporary infinitesimalist alternatives to the Cantor-Dedekind theory of continua. Among the theories we will consider are those that emerge from nonstandard analysis, nilpotent infinitesimalist approaches to portions of differential geometry and the theory of surreal numbers. Since these theories have roots in the algebraic, geometric and analytic infinitesimalist theories of the late nineteenth and early twentieth centuries, we will also provide overviews of the latter theories and some of their relations to the contemporary ones. We will find that the contemporary theories, while offering novel and possible alternative visions of continua, need not be (and in many cases are not) regarded as replacements for the Cantor-Dedekind theory and its corresponding theories of analysis and differential geometry.

A Space for Time

Futures ◽  
2021 ◽  
pp. 51-68
Author(s):  
Sandra Kemp
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Temporal Organization ◽  
Early Twentieth Century ◽  
The Social ◽  
Political Narratives ◽  
The Future ◽  
The Creation ◽  
Essay Tests

This essay analyses the role of museums in the creation of futures imaginaries and the ways in which these are embedded in socio-political narratives over time (narratives of nation, empire, power, consumption, and home). The essay tests its hypotheses through charting the evolution of the nineteenth-century phenomenon of the soirée—exhibitions and events showcasing technological, scientific, and cultural innovations of the future—from their heyday in the mid nineteenth century to their demise in the early twentieth century. In particular, the essay explores the social, spatial, and temporal organization of nineteenth- and early twentieth-century soirée display spaces as carriers of future worlds. It argues that the creation of futures imaginaries depends on interrelationships between people and objects across space and time, and that the complex web of relations established between words, objects, spaces, and people in exhibitions provides catalysts for ideas, ideologies, and narratives of the future.

Querulous behaviour: vexatious litigation, abnormally persistent complaining and petitioning

2012 ◽  
pp. 1977-1981
Author(s):  
Paul E. Mullen
Keyword(s):  
Twentieth Century ◽  
Clinical Features ◽  
Clinical Assessment ◽  
Historical Overview ◽  
Early Twentieth Century ◽  
Civil Courts

The querulant pursue their vision of justice through litigation in the court, through petitions to the powerful, and finally through the various agencies of accountability. In practice all three avenues are often explored. In the nineteenth and early twentieth century it was the civil courts in which these dramas were usually played out. Today the main burden falls on the complaints organizations. After a brief historical overview, this chapter addresses clinical features, clinical assessment, and management.

Automythology

2012 ◽  
Vol 5 (1) ◽  
pp. 25-56
Author(s):  
Jimmy Beaulieu
Keyword(s):  
Twentieth Century ◽  
First Century ◽  
Quebec City ◽  
Historical Overview ◽  
International Level ◽  
Collective Work ◽  
Number Of Factors ◽  
The Future ◽  
Twenty First Century ◽  
Set Up

A brief historical overview considers a number of factors that were not propitious for the development of a home-grown comics culture in Quebec (notwithstanding the popularity of a few noteworthy artists) including the impossibility of competing with cheaper American production, and the ambient conservatism that dominated much of the twentieth century. Beaulieu goes on to describe the shock and excitement of his discovery in the mid-1990s of an alternative comics scene (more active in Montreal than in Quebec City), and his own involvement in it from the beginning of the twenty-first century as an artist, publisher and teacher. He offers a firsthand account of the realities of negotiating the pressures of alternative comics publishing within the two structures that he set up: Mécanique Générale and the smaller and (still) more radical Colosse. There are pleasures: the ethos of collective work, the opportunity to support up-and-coming young authors and to ensure the survival of work by an illustrious predecessor, invitations to take part in productive exchanges on a local, national and international level, and the sheer obsessive pursuit of perfectionism. But there are also frustrations: the never-ending grind of getting manuscripts ready for the printer, wearying battles with publishers' reps, the constant need to manage the expectations of authors and the skewing of the market by competitors prepared to outsource printing to Asia. The author explains his decision finally to withdraw from his publishing commitments and to focus on his own work. His conclusion, about the future of comic production in Quebec, is, however, optimistic and devoid of cynicism.

scholarly journals Girls’ Gymnastics in the Service of the Nation: Educationalisation, Gender and Swedish Gymnastics in the Mid-Nineteenth Century

2017 ◽  
Vol 4 (2) ◽  
pp. 47-69
Author(s):  
Johannes Westberg
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Physical Education ◽  
Early Twentieth Century ◽  
The World ◽  
The Future ◽  
And Gender

In the nineteenth and early twentieth century, Swedish gymnastics won a large following across the world. Employing the concepts of educationalisation and gender, I will explore how the physical education of girls was conceptualised and justified in the Swedish system during the latter half of the nineteenth century. Focusing on the publications of Anton Santesson (1825–1892), who was one of the main authors on girls’ gymnastics in Sweden, I will show how girls’ gymnastics was conceptualised as a response to a social, cultural and physical crisis, which was perceived as partly stemming from the detrimental effects of education on girls’ bodies and minds. Girls’ gymnastics was thus construed as vital to the future of the Swedish nation. While men and manliness remained fundamental to the strength of the nation, girls’ gymnastics was vital to women’s rearing of boys and thus instrumental to the development of masculinity in men.

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