Chekhov's Poetic and Social Realism on the Italian Stage, 1924–1964

2008 ◽  
Vol 24 (4) ◽  
pp. 363-378
Author(s):  
Anna Sica
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Social Attitudes ◽  
Social Realism ◽  
Commedia Dell'arte ◽  
The 1950S ◽  
The University ◽  
Arthur Penn

This article explores the introduction of Chekhov's plays to Italy through émigré circles in the first decades of the twentieth century, and traces how they were appropriated to suit the ideological exigencies of the time during the fascist period. It concludes with observations about Luchino Visconti's celebrated productions of the 1950s, which stressed the idea that Chekhov was first and foremost a political writer, and suggests how this particular view of the dramatist evolved in the early 1960s as the theatre once again reflected social attitudes and values. Anna Sica is a lecturer at the University of Palermo. She has published monographs in Italy on the commedia dell'arte (1997), Arthur Penn (2000), and theatre in New York (2005), as well as articles on Pirandello and contemporary Italian drama in various journals.

Book Reviews

Journeys ◽  
2021 ◽  
Vol 22 (2) ◽  
pp. 83-92
Keyword(s):  
New York ◽  
Twentieth Century ◽  
North Carolina ◽  
University Of Chicago ◽  
Machu Picchu ◽  
Chapel Hill ◽  
The University ◽  
Literary Encounters ◽  
University Of Chicago Press

Randy Malamud, The Importance of Elsewhere: The Globalist Humanist Tourist. Chicago/Intellect, The University of Chicago Press, 2018, vii + 236 pp., ISBN-13: 978-1783208746, $29.50 (paperback).Mark Rice, Making Machu Picchu: The Politics of Tourism in Twentieth Century Peru (Chapel Hill, NC: University of North Carolina Press, 2018), xvi + 253 pp., ISBN 978-1-4696-4353-3, $28.75 (paperback).Jeffrey Mather, Twentieth-Century Literary Encounters in China: Modernism, Travel, and Form (New York: Routledge, 2020), ix + 182 pp., ISBN 978-1-03-208815-0, US $48.95 (paperback).

Gwen Ffrangcon-Davies: ‘Ethereal from the Waist Up and All Welsh Pony Down Below’

2011 ◽  
Vol 27 (3) ◽  
pp. 203-214 ◽  
Author(s):  
Helen Grime
Keyword(s):  
Twentieth Century ◽  
Social Attitudes ◽  
Musical Drama ◽  
Self Presentation ◽  
Lesbian Identity ◽  
Political Position ◽  
Public Scrutiny ◽  
The University ◽  
Fragmented Identity

In this article Helen Grime examines the enduring epithet of ethereality and its persistent connection to the career of the actress Gwen Ffrangcon-Davies (1891–1992). Most closely associated with her portrayal of Etain in the much revived musical drama The Immortal Hour, ethereality is understood as a signifier of 1920s femininity. The offstage presentation of a domesticated femininity further evidences the apparent conventionality of this actress's self-presentation at a time of particular anxiety about the socio-political position of women. These notions of femininity hint at the prevailing social attitudes that confronted an actress whose on- and offstage appearances were subject to public scrutiny while her private lesbian identity remained obscured. It is suggested, however, that Gwen Ffrangcon-Davies's playful negotiation of her demonstrably fragmented identity evidences an agency and self-possession belied by her public conformity. Helen Grime completed her thesis, A Strange Omission: Gwen Ffrangcon-Davies, Twentieth-Century Shakespearean Actress, in 2008 and is currently a Lecturer in Drama at the University of Winchester.

British Theatre Collections in the Harry Ransom Humanities Research Center

1998 ◽  
Vol 39 (1) ◽  
pp. 63-72
Author(s):  
Melissa Miller
Keyword(s):  
Twentieth Century ◽  
Research Center ◽  
Twentieth Century Literature ◽  
Theatre Arts ◽  
University Of Texas ◽  
Secondary Purpose ◽  
Art Collection ◽  
The 1950S ◽  
The University ◽  
Century Literature

The Harry Ransom Humanities Research Center at the University of Texas at Austin has become, since the 1950s, well-known for its holdings in twentieth century literature. I offer here a brief description of the holdings in British theatre in the Theatre Arts Collection and the Manuscripts and Archives division of the Ransom Center. My secondary purpose is to suggest: and encourage corollary research in other Ransom Center holdings, such as its Art Collection and Photography and Film Collection. A listing of selected holdings follows this overview below, together with information on fellowships for researchers.

Conference of Ukrainian Scholars in Urbana, Illinois

1982 ◽  
Vol 10 (2) ◽  
pp. 277-279
Author(s):  
Zenon M. Kuk
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Eastern Europe ◽  
Research Laboratory ◽  
Scientific Society ◽  
University Of Illinois ◽  
Faculty Center ◽  
The University

On June 24-28, 1982 the Conference on Ukrainian Literature in the Twentieth Century took place at the University of Illinois at Urbana-Champaign, Levis Faculty Center. The conference was sponsored by the Summer Research Laboratory on Russia and Eastern Europe, University of Illinois, Urbana-Champaign and the Shevchenko Scientific Society, Inc., New York.

scholarly journals What the Progressives Had in Common

2011 ◽  
Vol 10 (3) ◽  
pp. 331-339 ◽  
Author(s):  
Glen Gendzel
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York University ◽  
Progressive Movement ◽  
Core Theme ◽  
Early Twentieth Century ◽  
Wide Range ◽  
History Of ◽  
The 1950S ◽  
The 1960S

When Professor Benjamin Parke De Witt of New York University sat down to write the first history of the progressive movement in 1915, he promised “to give form and definiteness to a movement which is, in the minds of many, confused and chaotic.” Apparently it was a fool's errand, because confusion and chaos continued to plague historians of early twentieth-century reform long after Professor De Witt laid his pen to rest. The maddening variety of reform and reformers in the early twentieth century has perpetually confounded historians' efforts to identify what, if anything, the progressives had in common. Back in the 1950s, Richard Hofstadter charitably allowed that progressives were “of two minds on many issues,” whereas Arthur Link argued that “the progressive movement never really existed” because it pursued so many “contradictory objectives.” In the 1960s, Robert Wiebe concluded that the progressives, if they constituted a movement at all, showed “little regard for consistency.” In the 1970s, Peter Filene wrote an “obituary” for progressivism by reasserting Link's claim that the movement had “never existed” because it was so divided and diffuse. In the 1980s, Daniel Rodgers tried to recast the “ideologically fluid” progressive movement as a pastiche of vaguely related rhetorical styles. By the 1990s, so many competing characterizations of progressivism had emerged that Alan Dawley wondered if “they merely cancel each other out.” In 2002, Glenda Elizabeth Gilmore declared emphatically that “historians cannot agree” on progressivism. In 2010, Walter Nugent admitted that “the movement's core theme has been hard to pin down” because progressivism had “many concerns” and “included a wide range of persons and groups.”

Peter Brereton Townsend 1928–2009

2011 ◽  
Author(s):  
HOWARD GLENNERSTER
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Social Policy ◽  
Older People ◽  
Intellectual History ◽  
Disabled People ◽  
History Of ◽  
The University

Peter Townsend was a towering figure in the intellectual history of social policy in the twentieth century. He was both a sociologist and a tireless campaigner for poor and disabled people, who opened up new areas of study in sociology: inequalities suffered by older people and those with disabilities. Townsend was elected to the British Academy in 2004 and was a key member of the Black Review in the late 1970s. He was a Founding Professor at the University of Essex and later held professorships at Bristol and New York universities and the LSE. Obituary by Howard Glennerster FBA.

Designing for Reinhardt: the Work of Ernst Stern

1986 ◽  
Vol 2 (7) ◽  
pp. 217-232
Author(s):  
Hugh Rorrison
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Good Deal ◽  
Original Series ◽  
English Speaking ◽  
The University ◽  
Victoria And Albert Museum ◽  
The Relationship ◽  
Stage Lighting

Although a good deal of his work was seen in London and New York, the name of Max Reinhardt remains for most English-speaking theatre students all-too-vaguely associated with those innovations which helped to give a new importance to the ‘totality’ of the relationship between actors, audience, stage lighting and design, movement and music, in the earlier part of this century. Even less is known here about one of Reinhardt's leading collaborators. Ernst Stern – the longest-serving, most versatile, and most professional of his designers. Yet Stern settled in England in 1933, and left his papers to the Victoria and Albert Museum, upon whose resources Hugh Rorrison has drawn in assembling this view of Stern's contribution to Reinhardt's theatre in particular, and to twentieth-Century scenography in general. Hugh Rorrison, who was a regular contributor to the original series of Theatre Quarterly, teaches in the Department of German of the University of Leeds.

How Liberal Protestant Church Historians Helped Turn “Christianity” into a Good White Protestant American Religion in the Twentieth Century

2020 ◽  
Vol 89 (2) ◽  
pp. 395-398
Author(s):  
Robert A. Orsi
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Middle Class ◽  
Theological Seminary ◽  
University Of Chicago ◽  
Protestant Church ◽  
Shirley Jackson ◽  
Union Theological Seminary ◽  
Divinity School ◽  
The University

From the three historians of early Christianity whose lives and careers Elizabeth Clark discusses in The Fathers Refounded—Arthur Cushman McGiffert of Union Theological Seminary in New York, George LaPiana at Harvard Divinity School, and Shirley Jackson Case from the University of Chicago Divinity School—there breathes a palpable air of white, upper-middle-class liberal Protestant complacency and intellectual superiority. Modernists all, they know they are on the winning side of truth because they are confident that they are on the winning side of time. Summarizing McGiffert's distinction between ancient and contemporary Christianity, Clark writes: “Only in modernity, when God's immanence was championed, was the dualism between human and divine in Christ overcome.” “Christ, if he was human,” McGiffert believed, “must be divine, as all men are.” McGiffert's historiography shimmers with Emersonian confidence and ebullience. In his assumption—his assertion—of “only in,” we hear the ringing sound of modernity's triumphant temporality.

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