scholarly journals THE PROJECTION AND PERFORMANCE OF GHANAIAN NATIONHOOD - Jeffrey S. Ahlman. Living with Nkrumahism: Nation, State, and Pan-Africanism in Ghana (New African Histories). Athens, Ohio: Ohio University Press, 2017. vi + 322 pp. Illustrations. Acknowledgements. Notes. Bibliography. Index. $32.95. Paper. ISBN: 978-0-821-42293-9. - Harcourt Fuller. Building the Ghanaian Nation-State: Kwame Nkrumah’s Symbolic Nationalism (African Histories and Modernities). New York: Palgrave Macmillan, 2014. xxvii + 262 pp. Illustrations. Foreword. Acknowledgements. Timeline. Notes. Bibliography. Index. $90.00. Cloth. ISBN: 978-1-137-44858-3. - Jacob U. Gordon, editor. Revisiting Kwame Nkrumah: Pathways for the Future. Trenton, New Jersey: Africa World Press, 2017. xv + 330 pp. Illustrations. Preface. Appendices. Index. $39.95. Paper. ISBN: 978-1-569-02478-2. - Bianca Murillo. Market Encounters: Consumer Cultures in Twentieth-Century Ghana (New African Histories). Athens, Ohio: Ohio University Press, 2017. xv + 248 pp. Illustrations. Acknowledgements. Notes. Bibliography. Index. $32.95. Paper. ISBN: 978-0-821-42289-2. - Paul Schauert. Staging Ghana: Artistry and Nationalism in State Dance Ensembles (African Expressive Cultures). Bloomington: Indiana University Press, 2015. xvi + 342 pp. Illustrations. Preface. Acknowledgements. Notes. Bibliography. Index. $30.00. Paper. ISBN: 978-0-253-01742-0. - Jesse Weaver Shipley. Trickster Theatre: The Poetics of Freedom in Urban Africa (African Expressive Cultures). Bloomington: Indiana University Press, 2015. xii + 284 pp. Illustrations. Acknowledgements. Notes. Bibliography. Index. $35.00. Paper. ISBN: 978-0-253-01653-9. - Kate Skinner. The Fruits of Freedom in British Togoland: Literacy, Politics and Nationalism, 1914–2014 (African Studies). New York: Cambridge University Press, 2015. xv + 298 pp. Illustrations. Acknowledgements. Notes. Bibliography. Index. $85.00. Cloth. ISBN: 978-1-107-07463-7.

2019 ◽  
Vol 62 (4) ◽  
pp. 181-193 ◽  
Author(s):  
Benjamin N. Lawrance
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Nation State ◽  
Ohio University ◽  
Indiana University ◽  
Cambridge University ◽  
Kwame Nkrumah ◽  
Pan Africanism ◽  
Urban Africa ◽  
And Performance

Making Ballet 3

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Cold War ◽  
Movement Analysis ◽  
Story Line ◽  
George Balanchine ◽  
And Performance ◽  
Ballet History ◽  
Choreographic Analysis

Making Ballet 3 provides a choreographic analysis of the ballet Western Symphony, produced by the New York City Ballet in 1954 with choreography by George Balanchine, music by Hershy Kay, scenery by John Boyt, and costumes by Karinska. It brings to light the multitude of intertextual allusions that occur throughout the ballet, playfully intermingling references of “America” with an entire lineage of nineteenth-century European classicism. Although Western Symphony has no story line, it crafts a deliberate message: a long, transatlantic genealogy of Western classicism that, in the twentieth century, has come to rest in America. Drawing on archival sources and movement analysis, this interchapter argues that Western Symphony incorporates parody to present a revisionist ballet history in which the high cultural lineages of Europe and America are intimately entwined. Ultimately, this message reinforced the Atlanticist politics of private and state anticommunist groups in the cultural Cold War, the historical setting for its production and performance.

THE ORIGINS OF THE FIRST WORLD WAR

2006 ◽  
Vol 49 (4) ◽  
pp. 1253-1271
Author(s):  
TALBOT C. IMLAY
Keyword(s):  
New York ◽  
Twentieth Century ◽  
World War I ◽  
The United States ◽  
First World War ◽  
World War ◽  
Öffentliche Meinung ◽  
Cambridge University ◽  
The First World War ◽  
First World

Anticipating total war: the German and American experiences, 1871–1914. By Manfred Boemeke, Roger Chickering, and Stig Förster. New York and Cambridge: Cambridge University Press, 1999. Pp. ix+506. ISBN 0-521-62294-8. £55.00.German strategy and the path to Verdun: Erich von Falkenhayn and the development of attrition, 1870–1916. By Robert T. Foley. Cambridge: Cambridge University Press, 2005. Pp. xiv+316. ISBN 0-521-84193-3. £45.00.Europe's last summer: who started the Great War in 1914? By David Fromkin. New York: Knopf, 2004. Pp. xiii+368. ISBN 0-375-41156-9. £26.95.The origins of World War I. Edited by Richard F. Hamilton and Holger H. Herwig. Cambridge: Cambridge University Press, 2003. Pp. xiii+552. ISBN 0-521-81735-8. £35.00.Geheime Diplomatie und öffentliche Meinung: Die Parlamente in Frankreich, Deutschland und Grossbritanien und die erste Marokkokrise, 1904–1906. By Martin Mayer. Düsseldorf: Droste, 2002. Pp. 382. ISBN 3-7700-5242-0. £44.80.Helmuth von Moltke and the origins of the First World War. By Annika Mombauer. Cambridge: Cambridge University Press, 2001. Pp. xvi+344. ISBN 0-521-79101-4. £48.00.The origins of the First World War: controversies and consensus. By Annika Mombauer. London: Pearson Education, 2002. Pp. ix+256. ISBN 0-582-41872-0. £15.99.Inventing the Schlieffen plan: German war planning, 1871–1914. By Terence Zuber. Oxford: Oxford University Press, 2002. Pp. xi+340. ISBN 0-19-925016-2. £52.50.As Richard Hamilton and Holger Herwig remark in the introduction to their edited collection of essays on the origins of the First World War, thousands of books (and countless articles) have been written on the subject, a veritable flood that began with the outbreak of the conflict in 1914 and continues to this day. This enduring interest is understandable: the First World War was, in George Kennan’s still apt phrase, the ‘great seminal catastrophe’ of the twentieth century. Marking the end of the long nineteenth century and the beginning of the short twentieth century, the war amounted to an earthquake whose seismic shocks and after-shocks resonated decades afterwards both inside and outside of the belligerent countries. The Bolshevik Revolution, the growth of fascist and Nazi movements, the accelerated emergence of the United States as a leading great power, the economic depression of the 1930s – these and other developments all have their roots in the tempest of war during 1914–18. Given the momentous nature of the conflict, it is little wonder that scholars continue to investigate – and to argue about – its origins. At the same time, as Hamilton and Herwig suggest, the sheer number of existing studies places the onus on scholars themselves to justify their decision to add to this historiographical mountain. This being so, in assessing the need for a new work on the origins of the war, one might usefully ask whether it fulfills one of several functions.

Paul Robeson's Othello at the Savoy Theatre, 1930

2011 ◽  
Vol 27 (2) ◽  
pp. 114-140
Author(s):  
Michael A. Morrison
Keyword(s):  
New York ◽  
Twentieth Century ◽  
African Descent ◽  
High Water ◽  
Future Generations ◽  
Cambridge University ◽  
High Water Mark

Paul Robeson's Othello, first seen in London during the season of 1929–30, stands as a high-water mark of twentieth-century Shakespearean interpretation. Robeson was the first actor of African descent to appear in an extended-run Shakespearean production at a leading West End venue (Ira Aldridge, whose last London appearance came sixty-five years earlier, had made only three brief appearances at major London theatres). Here, Michael A. Morrison examines the circumstances surrounding Robeson's London Othello in 1930 and the far-reaching influence of his achievement on future generations of performers and playgoers. Michael A. Morrison is a New York-based writer and teacher. He is the author of John Barrymore, Shakespearean Actor (Cambridge University Press, 1997) and the forthcoming Paul Robeson's Othello.

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