We’ll Show You Boys How to Dance

2019 ◽  
pp. 58-79
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Twentieth Century ◽  
Young Men ◽  
Expressive Culture ◽  
Plains Indians ◽  
Dance Imagery

Through war-dancer imagery and its display in expressive culture in the Southwest, Kiowas and others created intertribal arenas that stretched beyond Oklahoma, and Kiowas contributed to the making of a larger intertribal, twentieth-century world. Fancy-dance imagery created a contemporary picture of Kiowa young men that was built from older Kiowa constructions of gender and the popular representation of Plains Indians. Painters forged war-dancer imagery though dance, regalia, paintings, and murals.

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Twentieth Century ◽  
Progressive Era ◽  
Cultural Production ◽  
Expressive Culture ◽  
Men And Women ◽  
Cultural Negotiation ◽  
The Arts ◽  
Interdisciplinary Study

This is an interdisciplinary study of how Kiowa men and women made, wore, displayed and discussed expressive culture. Kiowa men and women used the arts to represent new ways of understanding and representing Kiowa identity that resonated with their changed circumstances during the Progressive Era and twentieth century. Kiowas represented themselves individually and collectively through cultural production that emphasized the significance of change and cultural negotiation, gender, the ties and tensions over tribally specific and intertribal identities.

‘What is a Beautiful Body?’

2015 ◽  
Vol 8 (2-3) ◽  
pp. 192-214 ◽  
Author(s):  
Murat C. Yıldız
Keyword(s):  
Twentieth Century ◽  
Middle Class ◽  
Leisure Activities ◽  
Young Men ◽  
The Self ◽  
Male Body ◽  
Sports Clubs ◽  
Early Twentieth Century ◽  
The Press ◽  
Late Nineteenth

This article examines the emergence and spread of the ‘sportsman’ genre of Ottoman photography in late-nineteenth and early-twentieth-century Istanbul. The ‘sportsman photograph’ depicted young men posing shirtless or wearing tight-fitting athletic attire, flexing their muscles and exhibiting their bodies. These images were embedded in a wider set of athletic and leisure activities and constituted novel social and photographic practices. By tracing the deployment of ‘sportsman’ photographs in sports clubs and the press, I argue that they cemented homosocial bonds, normalized and popularized new notions of masculinity, confessionalized the male body and reconfigured the ways in which Ottoman Muslims, Christians and Jews performed and conveyed their commitment to middle-class notions of masculinity and the self.

Guns for Christmas: Advertising in Boys’ Life Magazine, 1911-2012

2020 ◽  
Vol 40 (3) ◽  
pp. 396-414
Author(s):  
Terrence H. Witkowski
Keyword(s):  
Twentieth Century ◽  
Young Men ◽  
Data Sources ◽  
Gift Giving ◽  
Life Magazine ◽  
Early Twenty ◽  
Gun Culture ◽  
Insight Into

Giving guns as Christmas presents has been one of the ways in which boys and young men have traditionally been recruited into American gun culture. This paper explores how advertising in Boys’ Life magazine, among other data sources, has represented this special Christmas giving in terms of suitable types and brands of guns, appropriate shooting activities, family gifting tableaux and rituals, fantasy consumption, and masculinity theory. Over the period studied, from the turn of the twentieth century until the early twenty-first, this socialization through gift-giving has been remarkably consistent and provides insight into the durability of American gun culture.

Priests and patriots: Irish separatism and fear of the modern, 1890-1914

1986 ◽  
Vol 25 (97) ◽  
pp. 67-81 ◽  
Author(s):  
Tom Garvin
Keyword(s):  
Twentieth Century ◽  
Catholic Church ◽  
World View ◽  
Political Leadership ◽  
Young Men ◽  
The Political ◽  
Independent State ◽  
Men And Women ◽  
Or Economics ◽  
Separatist Movement

The political leadership of the independent state that emerged after 1920 was formed in the years after the fall of Parnell in 1891. The cultural atmosphere of the period in which the new leaders had grown up was suffused with a nationalist and anti-modernist romanticism, a sense that a civilisation was perhaps dying and a scepticism about the possibility or even desirability of mass democracy As has been argued elsewhere, the young men and women who were to lead the separatist movement were children of their time. Like their contemporaries elsewhere in Europe, they sensed that the twentieth century would bring great changes; they anticipated with dread or longing the great wars that so many writers predicted; they tended to rebel against their elders, often in the name of ideals inculcated by those elders; they tended toward a romantic and messianic nationalism.' They tended also to think moralistically rather than scientifically; their social thought was derived from ethics rather than from politics or economics. The culture from which they came was dominated by a catholic world-view, and their real intellectual mentors were the priests of the catholic church.

The Plains Indians of the Twentieth Century.

1987 ◽  
Vol 16 (3) ◽  
pp. 297
Author(s):  
Clara Sue Kidwell ◽  
Peter Iverson ◽  
Francis Paul Prucha
Keyword(s):  
Twentieth Century ◽  
Plains Indians

Conclusion

2019 ◽  
pp. 98-102
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Twentieth Century ◽  
Visual Culture ◽  
Expressive Culture ◽  
The Past

Kiowas communicated the importance of their identity though expressive culture in new arenas. Expressive culture provided sites to express what nationhood meant in the past as well as what it meant to be Kiowa during the twentieth century. Painters, bead workers, and others debated these ideas with one another though visual culture. They imbued dresses, dance clothes, and adornment with substantial meaning with regard to gender, family, intertribal and intratribal spheres.

scholarly journals ‘Apostles of Continence’: Doctors and the Doctrine of Sexual Necessity in Progressive-Era America

2016 ◽  
Vol 61 (1) ◽  
pp. 89-106 ◽  
Author(s):  
Timothy Verhoeven
Keyword(s):  
Twentieth Century ◽  
Progressive Era ◽  
Venereal Disease ◽  
Young Men ◽  
Medical Community ◽  
Social Hygiene ◽  
The Social ◽  
The Face ◽  
Social Hygiene Movement

In the first decades of the twentieth century, a group of doctors under the banner of the social hygiene movement set out on what seemed an improbable mission: to convince American men that they did not need sex. This was in part a response to venereal disease. Persuading young men to adopt the standard of sexual discipline demanded of women was the key to preserving the health of the nation from the ravages of syphilis and gonorrhoea. But their campaign ran up against the doctrine of male sexual necessity, a doctrine well established in medical thought and an article of faith for many patients. Initially, social hygienists succeeded in rallying much of the medical community. But this success was followed by a series of setbacks. Significant dissent remained within the profession. Even more alarmingly, behavioural studies proved that many men simply were not listening. The attempt to repudiate the doctrine of male sexual necessity showed the ambition of Progressive-era doctors, but also their powerlessness in the face of entrenched beliefs about the linkage in men between sex, health and success.

Realism Redux: Staging ‘Billy Budd’ in the Age of Television

2019 ◽  
Vol 100 (3) ◽  
pp. 447-480
Author(s):  
Danielle Ward-Griffin
Keyword(s):  
Twentieth Century ◽  
Young Men ◽  
Status Quo ◽  
Performance History ◽  
Television Version ◽  
Billy Budd ◽  
The Status ◽  
The Usa ◽  
The Uk ◽  
Opera Productions

Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.

scholarly journals Political Violence and Re-victimization in The Ferryman

2020 ◽  
Author(s):  
Mesut Günenç
Keyword(s):  
Twentieth Century ◽  
Northern Ireland ◽  
Political Violence ◽  
Republican Party ◽  
Young Men ◽  
Irish Republican Army ◽  
Typical Representative ◽  
Major Point ◽  
The Troubles ◽  
The Disappeared

<p>Jez Butterworth’s <i>The Ferryman</i> (2017) is a play about the Carney family living in 1980s Ireland during the period of the rebellion of the Irish Republican Army (IRA) and its efforts to get rid of British sovereignty in Northern Ireland, a period known as ‘the Troubles’. This paper focuses on Jez Butterworth, one of the most distinctive voices of the contemporary British theatre scene and a typical representative of the 1990s cultural trend, and his tragedy <i>The Ferryman</i>, which portrays the struggle and conflicts between Catholic nationalists and Protestant loyalists in Northern Ireland in the last decades of the twentieth century. The second major point of the study is that the power of the Irish Republican Party has a heavy impact on the play. The paper also discovers how Sean Carney and other members of his family both embody and apply the story of Eugene Simons and other members of ‘the Disappeared’. Like other young men, Seamus Carney became a victim during the Troubles and the campaign of political violence. The discovery of his body symbolizes how political violence created the Disappeared and shows that re-victimization and re-traumatisation continue in the aftermath of the Troubles.</p>

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