Bachelor Japanists

2017 ◽  
Author(s):  
Christopher Reed
Keyword(s):  
Queer Theory ◽  
Turn Of The Century ◽  
Late Nineteenth Century ◽  
The West ◽  
Cultural Authenticity ◽  
Avant Garde ◽  
Japanese Aesthetics ◽  
Architecture And Literature ◽  
East West ◽  
Research Analysis

Challenging clichés of Japanism as a feminine taste, Bachelor Japanists argues that Japanese aesthetics were central to contests over the meanings of masculinity in the West. Christopher Reed draws attention to the queerness of Japanist communities of writers, collectors, curators, and artists in the tumultuous century between the 1860s and the 1960s.Reed combines extensive archival research; analysis of art, architecture, and literature; the insights of queer theory; and an appreciation of irony to explore the East-West encounter through three revealing artistic milieus: the Goncourt brothers and other japonistes of late-nineteenth-century Paris; collectors and curators in turn-of-the-century Boston; and the mid-twentieth-century circles of artists associated with Seattle’s Mark Tobey. The result is a groundbreaking integration of well-known and forgotten episodes and personalities that illuminates how Japanese aesthetics were used to challenge Western gender conventions. These disruptive effects are sustained in Reed’s analysis, which undermines conventional scholarly investments in the heroism of avant-garde accomplishment and ideals of cultural authenticity.

Murderous Mumbo-Jumbo: The Significance of Fraternity to Three Criminal Organizations in Late Nineteenth-Century America

2015 ◽  
Vol 50 (4) ◽  
pp. 1067-1088
Author(s):  
KRISTOFER ALLERFELDT
Keyword(s):  
Race And Ethnicity ◽  
Social Issues ◽  
Turn Of The Century ◽  
Late Nineteenth Century ◽  
The West ◽  
Nineteenth Century America ◽  
The Past ◽  
Criminal Organizations ◽  
Mumbo Jumbo ◽  
Late Nineteenth

Over the past thirty years or so the study of American fraternity has been used to explore a variety of phenomena in the nation's evolution, especially around the turn of the twentieth century. Fraternities have been used to understand the exploration, taming and exploitation of the West. They have been shown to represent proof of the various turn-of-the century crises of gender, race and ethnicity. They have been seen as the very embodiment of bygone caring, sharing, communities. However, among the aspects to have escaped attention is the importance of fraternity in criminal organizations. Given that crime, then as now, was seen as one of the most pressing of social issues, and given that over these years there was a deep suspicion that there were a variety of ultra-secret fraternities organizing, facilitating and manipulating wide-ranging criminal activities, this may be considered a little odd. This article investigates the idea that there was really such a thing as a genuine criminal “fraternity.” Looking at three of the most famous of such organizations – the Ku Klux Klan (KKK), the Molly Maguires and the Mafia – it demonstrates that not only were ideas of fraternity central to their very existence, but they are also crucial to our understanding both of them and of the period in which they were situated.

Crossing Cultural and Aesthetic Frontiers: Yves Bonnefoy and the Dynamics of Haiku

2015 ◽  
Vol 15 (1) ◽  
pp. 25-40
Author(s):  
Pamela A. Genova
Keyword(s):  
The West ◽  
Japanese Aesthetics ◽  
The World ◽  
Third Dimension ◽  
Mind's Eye ◽  
East West ◽  
Yves Bonnefoy

Ever since the opening of the ports of Japan to the West in 1854, French authors have participated in a fruitful dialogue of East-West exchange, to which the work of Yves Bonnefoy adds an engaging dimension. Bonnefoy, who reads Japanese and has spent time in Japan, has carried on throughout his career an equivocal relationship with Japanese aesthetics, especially notable in his complex views on haiku. Early on, Bonnefoy critiqued the form as a hollow discursive structure inattentive to the crucial referential relationship between art and world that he underscored in his own work as primary. Yet, interestingly, critics have described similarities between Bonnefoy's poetry and Japanese haiku, and indeed Bonnefoy later recanted his negative critique of the form. In the 1989 essay, 'Du haïku', he argues in fact that haiku embodies pure presence, expressing a kind of third dimension, situating itself in the space of the world and in the mind's eye, as it communicates the plenitude of being.

Cuban Painting at the Turn of the Century (1902–1930)

2019 ◽  
pp. 70-81
Author(s):  
Anelys Alvarez
Keyword(s):  
Nineteenth Century ◽  
Visual Arts ◽  
First Generation ◽  
Turn Of The Century ◽  
Late Nineteenth Century ◽  
Avant Garde ◽  
Late Nineteenth

Art historian Anelys Alvarez reviews the tumultuous first three decades of the Cuban Republic (1902–30) and their impact on painting and other visual arts such as sculpture. First, she questions the conventional dichotomy between traditional (or academic) and avant-garde (or modernist) art in Cuba during this period. She then recovers several forgotten artists, such as Antonio Rodríguez Morey, María Capdevila, and Manuel Mesa, who were active on the island before the rise of modernism in the 1930s. Alvarez reappraises a whole generation of painters who served as an artistic bridge between the late nineteenth century and the first generation of avant-garde (vanguardista) painters in 1927.

scholarly journals Dialogue East/West in the Russian Avant-garde and Poetics of Primitive

2021 ◽  
pp. 201-227
Author(s):  
Nataliya Zlydneva ◽  
◽  
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Socialist Realism ◽  
The West ◽  
Russian Art ◽  
Avant Garde ◽  
The Third ◽  
Official Ideology ◽  
New Meanings ◽  
East West

The essay examines interrelation between the motif and the poetics in the visual arts, specifically,as it concerns the East / West motif and the style of primitivism in the Russian art of the twentieth century. It discussesvarious forms and meanings of this theme as presented in the works of M. Larionov, N. Goncharova, and P. Filonov. Two models are shown: the early historical avant-garde and the avant-garde of the late 1920s. If at the beginning of the century, the style is contingent on the plot and focuses mainly on the theme of the East, the primitivism of the next decade develops in the context of the Western Europeanturn towards documentary in art and therefore addresses the theme of the West. The third model describes the painting of the early 1930s when the appeal to the East, required by the order of the official ideology, gave rise to a form of primitivism as a way to escape from the pressure of socialist realism (Vasnetsov, Volkov). Conclusion: in relation to the topic East / West, primitivism acted as geopoetics of a kind, generating new meanings. Inherent dualism of the Russian culturefound a correspondence in primitivism as a borderline type of poetics.

scholarly journals The East and the West in the polemical context of the Serbian music between the two World Wars

Muzikologija ◽  
2005 ◽  
pp. 119-129 ◽  
Author(s):  
Katarina Tomasevic
Keyword(s):  
World War I ◽  
Development Strategy ◽  
Doctoral Dissertation ◽  
World War ◽  
The West ◽  
Avant Garde ◽  
The World ◽  
Academy Of Sciences ◽  
East West ◽  
Serbian Academy

This article represents a fragment of the author's doctoral dissertation Serbian Music at the Crossroads of the East and the West? On the Dialogue between the Traditional and the Modern in Serbian Music between the Two World Wars (the review of the thesis see on www.newsound.org.yu, issue No 24). The thesis (mentor: prof. Dr Mirjana Veselinovic-Hofman) was defended at the Faculty of Music, Belgrade, on January 2004. A revised text of the dissertation is forthcoming, in an edition of the Institute of Musicology of the Serbian Academy of Sciences and Arts. The article describes the creative orientation of composers Miloje Milojevic, Petar Konjovic and Josip Slavenski as the key figures of the epoch, indicates their choices of an Eastern or Western orientation, and explains the antagonism between the poetics of the "Europeans" and the representatives of avant-garde trends. The topicality of the East-West dichotomy in the critical consciousness of the protagonist of this period is marked as one of the main and the most important dilemma of the polemical context of the Serbian art after the World War I. Conducted from standpoints "Pro et Contra Europe", East-West discussion was also the part of the debate of Serbian national art's development strategy in the new, modern epoch of its history.

Values and intergroup perceptions of East Germans and West Germans in 1998 1This research was supported by a grant from the German Research Society (We 1106/3-1).

1999 ◽  
Vol 58 (4) ◽  
pp. 263-272
Author(s):  
Jörg Doll ◽  
Michael Dick
Keyword(s):  
Research Society ◽  
Frame Of Reference ◽  
Control Group ◽  
Perceived Similarity ◽  
The West ◽  
Need For Uniqueness ◽  
German Research ◽  
East German ◽  
Experimental Group ◽  
East West

The studies reported here focus on similarities and dissimilarities between the terminal value hierarchies ( Rokeach, 1973 ) ascribed to different groups ( Schwartz & Struch, 1990 ). In Study 1, n = 65 East Germans and n = 110 West Germans mutually assess the respective ingroup and outgroup. In this intra-German comparison the West Germans, with a mean intraindividual correlation of rho = 0.609, perceive a significantly greater East-West similarity between the group-related value hierarchies than the East Germans, with a mean rho = 0.400. Study 2 gives East German subjects either a Swiss (n = 58) or Polish (n = 59) frame of reference in the comparison between the categories German and East German. Whereas the Swiss frame of reference should arouse a need for uniqueness, the Polish frame of reference should arouse a need for similarity. In accordance with expectations, the Swiss frame of reference significantly reduces the correlative similarity between German and East German from a mean rho = 0.703 in a control group (n = 59) to a mean rho = 0.518 in the experimental group. Contrary to expectations, the Polish frame of reference does not lead to an increase in perceived similarity (mean rho = 0.712).

Contents of Western Sociology of Religion as a Science and Educational Discipline

2002 ◽  
pp. 106-110
Author(s):  
Liudmyla O. Fylypovych
Keyword(s):  
Nineteenth Century ◽  
International Society ◽  
Sociology Of Religion ◽  
Scientific Study ◽  
Late Nineteenth Century ◽  
The West ◽  
Late Nineteenth

Sociology of religion in the West is a field of knowledge with at least 100 years of history. As a science and as a discipline, the sociology of religion has been developing in most Western universities since the late nineteenth century, having established traditions, forming well-known schools, areas related to the names of famous scholars. The total number of researchers of religion abroad has never been counted, but there are more than a thousand different centers, universities, colleges where religion is taught and studied. If we assume that each of them has an average of 10 religious scholars, theologians, then the army of scholars of religion is amazing. Most of them are united in representative associations of researchers of religion, which have a clear sociological color. Among them are the most famous International Society for the Sociology of Religion (ISSR) and the Society for Scientific Study of Religion (SSSR).

High-Frequency Radar Mapping of Surface Currents Using WERA

2007 ◽  
Vol 24 (3) ◽  
pp. 484-503 ◽  
Author(s):  
Lynn K. Shay ◽  
Jorge Martinez-Pedraja ◽  
Thomas M. Cook ◽  
Brian K. Haus ◽  
Robert H. Weisberg
Keyword(s):  
Time Series ◽  
High Frequency ◽  
Tidal Currents ◽  
Tropical Storm ◽  
Surface Velocity ◽  
Surface Currents ◽  
West Florida Shelf ◽  
The West ◽  
Florida Shelf ◽  
East West

Abstract A dual-station high-frequency Wellen Radar (WERA), transmitting at 16.045 MHz, was deployed along the west Florida shelf in phased array mode during the summer of 2003. A 33-day, continuous time series of radial and vector surface current fields was acquired starting on 23 August ending 25 September 2003. Over a 30-min sample interval, WERA mapped coastal ocean currents over an ≈40 km × 80 km footprint with a 1.2-km horizontal resolution. A total of 1628 snapshots of the vector surface currents was acquired, with only 70 samples (4.3%) missing from the vector time series. Comparisons to subsurface measurements from two moored acoustic Doppler current profilers revealed RMS differences of 1 to 5 cm s−1 for both radial and Cartesian current components. Regression analyses indicated slopes close to unity with small biases between surface and subsurface measurements at 4-m depth in the east–west (u) and north–south (υ) components, respectively. Vector correlation coefficients were 0.9 with complex phases of −3° and 5° at EC4 (20-m isobath) and NA2 (25-m isobath) moorings, respectively. Complex surface circulation patterns were observed that included tidal and wind-driven currents over the west Florida shelf. Tidal current amplitudes were 4 to 5 cm s−1 for the diurnal and semidiurnal constituents. Vertical structure of these tidal currents indicated that the semidiurnal components were predominantly barotropic whereas diurnal tidal currents had more of a baroclinic component. Tidal currents were removed from the observed current time series and were compared to the 10-m adjusted winds at a surface mooring. Based on these time series comparisons, regression slopes were 0.02 to 0.03 in the east–west and north–south directions, respectively. During Tropical Storm Henri’s passage on 5 September 2003, cyclonically rotating surface winds forced surface velocities of more than 35 cm s−1 as Henri made landfall north of Tampa Bay, Florida. These results suggest that the WERA measured the surface velocity well under weak to tropical storm wind conditions.

Anti-Catholicism in Germany, Britain, and the United States: A Review and Critique of Recent Scholarship

2001 ◽  
Vol 70 (1) ◽  
pp. 98-131 ◽  
Author(s):  
Marjule Anne Drury
Keyword(s):  
Cultural Change ◽  
The United States ◽  
Turn Of The Century ◽  
Religious Culture ◽  
The West ◽  
The Past ◽  
Recent Scholarship ◽  
Race Ethnicity ◽  
Irish Question ◽  
Political Economic

The past two decades have seen an efflorescence of works exploring cultural anti-Catholicism in a variety of national contexts. But so far, historians have engaged in little comparative analysis. This article is a first step, examining recent historical literature on modern British and American anti-Catholicism, in order to trace the similarities and distinctiveness of the turn-of-the-century German case. Historians are most likely to be acquainted with American nativism, the German Kulturkampf, continental anticlericalism, and the problems of Catholic Emancipation and the Irish Question in Britain. Many of the themes and functions of anti-Catholic discourse in the West transcended national and temporal boundaries. In each case, the conceptualization of a Catholic ‘other’ is a testament to the tenacity of confessionalism in an age formerly characterized as one of inexorable secularization. Contemporary observers often agreed that religious culture—like history, race, ethnicity, geography, and local custom—played a role in the self-evident distinctiveness of peoples and nations, in their political forms, economic performance, and intellectual and artistic contributions. We will see how confessionalism remained a lens through which intellectuals and ordinary citizens, whether attached or estranged from religious commitments, viewed political, economic, and cultural change.

Sign in / Sign up

Export Citation Format

Share Document