Susie Tharu and K. Lalita, eds., Women Writing in India: 600 B.C to the Present. Volume 1: 600 B.C to the Early Twentieth Century. New York: Feminist Press, 1991. Volume 2: The Twentieth Century. New York: Feminist Press, 1993.

1994 ◽  
Vol 16 (1) ◽  
pp. 287-294
Author(s):  
Priyamvada Gopal
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Present Volume ◽  
Early Twentieth Century ◽  
Women Writing

Shaping Jazz

2013 ◽  
Author(s):  
Damon J. Phillips
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Recording Industry ◽  
Early Twentieth Century ◽  
Art Form ◽  
Long Run

There are over a million jazz recordings, but only a few hundred tunes have been recorded repeatedly. Why did a minority of songs become jazz standards? Why do some songs—and not others—get re-recorded by many musicians? This book answers this question and more, exploring the underappreciated yet crucial roles played by initial production and markets—in particular, organizations and geography—in the development of early twentieth-century jazz. The book considers why places like New York played more important roles as engines of diffusion than as the sources of standards. It demonstrates why and when certain geographical references in tune and group titles were considered more desirable. It also explains why a place like Berlin, which produced jazz abundantly from the 1920s to early 1930s, is now on jazz's historical sidelines. The book shows the key influences of firms in the recording industry, including how record labels and their executives affected what music was recorded, and why major companies would re-release recordings under artistic pseudonyms. It indicates how a recording's appeal was related to the narrative around its creation, and how the identities of its firm and musicians influenced the tune's long-run popularity. Applying fascinating ideas about market emergence to a music's commercialization, the book offers a unique look at the origins of a groundbreaking art form.

scholarly journals Jeanette Bernard And American Amateur Photography Contests In The Early Twentieth Century

2021 ◽  
Author(s):  
Jami Guthrie
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Long Island ◽  
Detailed Examination ◽  
Early Twentieth Century

This thesis analyzes a collection of 101 photographs by American amateur photographer Jeanette Bernard held at George Eastman House International Museum of Photography and Film (GEH). Bernard lived in Long Island, New York, and produced photographs from 1904 to 1924 and actively participated in amateur photography competitions in newspapers those years. The first part of the paper analyzes Bernard's work within the broader context of amateur photograph competitions through a detailed examination of Leslie's Weekly, the newspaper she most regularly submitted her work, with an emphasis on the year 1907. The second part of the paper outlines the steps taken to make this material available and searchable within the GEH's database, The Museum System (TMS), and includes an appendix which compares the fully illustrated catalogue.

Conclusion

Kathy Acker ◽  
2016 ◽  
Author(s):  
Georgina Colby
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Distinctive Feature ◽  
Art World ◽  
Experimental Practice ◽  
Creative Practice ◽  
Early Twentieth Century ◽  
Surface Content ◽  
Making Art

Reflecting in 1990 on her early adult years immersed in the New York art world, Acker remembered ‘being taught that it’s not an art work’s content, surface content, that matters, but the process of making art. That only process matters.’1 Attention to the manuscript practice and compositional processes of Acker’s works, alongside the question of experimental practice and meaning, brings to light the new forms of creative practice that Acker’s works embody. This book opened with Acker’s declaration ‘FORM HAS MEANING’ and the importance of the imbrication of form with content to modernist and late modernist experimental writers. Acker’s experimental practices – exercises in writing asystematically, collage, topological intertextuality, montage, ekphrasis, and literary calisthenics – reveal a body of compositional strategies that continue to uphold this distinctive feature of early twentieth-century experiment and preserve the radical force of her writings....

Rising from the Gutter

2020 ◽  
pp. 67-92
Author(s):  
Jean Lee Cole
Keyword(s):  
New York ◽  
Twentieth Century ◽  
American Literature ◽  
Comic Strip ◽  
Jewish American ◽  
Lower East Side ◽  
East Side ◽  
Jewish American Literature ◽  
Early Twentieth Century ◽  
English Speaking

This chapter shows how the early comic strip was developed and then came to influence comic fiction in the early twentieth century. As the editor of the New York Journal‘s comic supplement, Rudolph Block regularized the use of panels, repetitive storylines, and caricature, resulting in the multi-panel format that defines the comic-strip genre. Block’s role in the development of the comic strip has gone largely unrecognized; as a writer of Jewish American literature, Block has been forgotten. Using the pseudonym Bruno Lessing, Block published nearly a hundred stories between 1905 and 1920 in popular magazines. These humorous stories, full of rich dialect and accompanied by vibrant illustrations, translated the multiethnic culture of the Lower East Side for a mainstream, English-speaking audience. Block represented dialect and caricature as opportunities for negotiation and play, providing ways to display identity in multiple and shifting forms.

“A Season in Hell”

2017 ◽  
Vol 86 (4) ◽  
pp. 632-660 ◽  
Author(s):  
Anne Rees
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Daily Life ◽  
Modern Life ◽  
Early Twentieth Century ◽  
The World ◽  
Women Travelers ◽  
The City ◽  
Travel Accounts

Australian women travelers in early twentieth-century New York often recoiled from the frenetic pace of the city, which surpassed anything encountered in either Britain or Australia. This article employs their travel accounts to lend support to the growing recognition that modernity took different forms throughout the world and to contribute to the project of mapping those differences. I argue that “hustle” was a defining feature of the New York modern, comparatively little evident in Australia, and I propose that the southern continent had developed a model of modern life that privileged pleasure-seeking above productivity. At a deeper level, this line of thinking suggests that modernization should not be conflated with the relentless acceleration of daily life; it thus complicates the ingrained assumption that speed and modernity go hand-in-hand.

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