scholarly journals The Repertoire and Interpretative Dynamics of Shakespeare’s Dramaturgy in the Twentieth-Century Lithuanian Theatre

Menotyra ◽  
2020 ◽  
Vol 27 (2) ◽  
Author(s):  
Ramunė Marcinkevičiūtė
Keyword(s):  
Twentieth Century ◽  
Interwar Period ◽  
Social Changes ◽  
Independent State ◽  
National Theatre ◽  
The Creation ◽  
New Beginnings ◽  
The 1960S

The repertoire and interpretative dynamics of Shakespeare’s dramaturgy in the twentieth-century Lithuanian theatre have shown that despite the fact that the first premiere on a professional theatre stage in Lithuanian took place only in 1924 (Othello), the main European tendencies of the playwright’s directorial narrative (from Romantic rhetoric and retrospectivism to deconstruction or postcolonial practices) were repeated over the course of the century. The author of the article observes that the general turn towards Shakespeare by many Lithuanian theatre artists, not just one director or repertory theatre, reflects and connects various phenomena of major social changes and new beginnings: the creation of an independent state and a professional national theatre in the interwar period; the creation of a more modern theatre and a more relaxed society during the thaw of the 1960s in the wake of the Stalinist regime and its terror; the transformation of the role of theatre in society in the 1990s following the restoration of the country’s independence; the challenges brought about by the new century and the changing generations of artists. This hypothetical parallel between changes in history and in the theatrical discourses distinguishes Shakespeare as a prominent factor of theatre development and puts the Lithuanian professional theatre in the context of the traditions of European Shakespearean theatre repertory choices formed throughout the centuries.

scholarly journals Moralities of Consumption in Poland across the Short Twentieth Century

2013 ◽  
Vol 68 (02) ◽  
pp. 393-418 ◽  
Author(s):  
Małgorzata Mazurek
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Interwar Period ◽  
Soviet Bloc ◽  
World War ◽  
History Of ◽  
The 1960S ◽  
Family Centered ◽  
Deep Crisis

Participating in the broader history of consumer mobilization for egalitarian regimes of consumption, this article unpacks the shifting meanings of egalitarian moralities of consumption in the specific case of Poland across the twentieth century. It reveals how important the role of social justice would become in attempts to impose state-centered social welfare over profit-oriented self-welfare between the interwar period and the demise of Communism. During this time, the meaning of profiteering changed significantly. While food conflicts during the interwar period and World War II were organized predominantly along ethnic lines, by the beginning of the postwar era, the notion of the profit-oriented middleman relied on the category of class as well as ethnicity to support a vision of Poland as a Communist, ethnically homogenized nation-state. In the 1950s and the 1960s, anti-profiteering rhetoric became increasingly gendered, as the food conflicts moved from an ideological crusade against private trade to everyday confrontations between the consumers and female shop assistants. When the Soviet Bloc ran into deep crisis in the 1970s and 1980s, self-welfare and family-centered resourcefulness resurfaced as legitimate norms of distributive justice, which contributed to dismantling the Socialist welfare state altogether.

Erin’s Acres

2019 ◽  
pp. 131-170
Author(s):  
Sinéad Moynihan
Keyword(s):  
Twentieth Century ◽  
Land Acquisition ◽  
Land Grabbing ◽  
Celtic Tiger ◽  
The 1960S

This chapter considers the extent to which the Returned Yank surfaces in narratives treating of land acquisition, distribution, ownership and development in Ireland in the second half of the twentieth century. It identifies two overlapping motifs in Returned Yank narratives that have been stated, restated and reworked in various historically-contingent ways from at least the 1930s, through the Lemassian turn, through the Celtic Tiger years: first, the extent to which the Returned Yank who returns to Ireland to buy property symbolises widespread ambivalence concerning the role of the post-independence Land Commission in Irish life; second, the degree to which narratives of land-purchasing (or ‘land-grabbing’) Returned Yanks become abstracted in the 1960s and beyond to the extent that s/he (usually he) comes to symbolise U.S. investment in Ireland more generally.

The Age of the Witness and the Age of Surveillance: Romani Holocaust Testimony and the Perils of Digital Scholarship

2020 ◽  
Vol 125 (4) ◽  
pp. 1205-1231
Author(s):  
Ari Joskowicz
Keyword(s):  
Twentieth Century ◽  
Personal Information ◽  
Holocaust Survivors ◽  
Digital Scholarship ◽  
The Creation ◽  
The 1960S

Abstract For over half a century, historians have made ample use of witness testimonies. Efforts to preserve the accounts of marginalized people in particular have broadened the range of voices available to us and significantly expanded the field. Yet we have paid too little attention to the potentially disturbing consequences of the creation and distribution of such testimonies. Focusing on the experiences of Romani Holocaust survivors, this essay argues that new practices of surveillance and victim-witnessing developed in tandem, from the mid-twentieth century to the present. Beginning in the 1960s, prosecutors asked Romani survivors to testify about the crimes committed against them under Nazism even as state authorities continued to criminalize and surveil Romanies across Europe. These and related experiences have meant that different Romani witnesses—or potential witnesses—have often had to balance the desire to have their stories heard against the fear of being listened in on. As surveillance becomes increasingly pervasive and as personal information is increasingly monetized, the lessons that European Romanies learned as early victims of targeted policing remain salient for historians today. Despite its potential to empower, victim-witnessing also creates new vulnerabilities—both those we can currently anticipate and those we can’t yet fully imagine.

Majimaji and the Millennium: Abrahamic Sources and the Creation of a Tanzanian Resistance Tradition

1999 ◽  
Vol 26 ◽  
pp. 365-378 ◽  
Author(s):  
Thaddeus Sunseri
Keyword(s):  
Twentieth Century ◽  
Power Structure ◽  
Close Reading ◽  
Colonial History ◽  
Colonial Power ◽  
German Colonialism ◽  
Historical Tradition ◽  
The Creation ◽  
The 1960S ◽  
Resistance Movement

Writing thirty years ago the historian of the Majimaji rebellion, Gilbert Gwassa, emphasized the purely Tanzanian nature of the uprising, as seen in the ideology which he believed was the inspiration for the widespread war against German colonialism. To Gwassa, southern Tanzanians created an innovative, secular ideology after the turn of the twentieth century which enabled Africans to resist German colonialism supra-ethnically rather than locally. Gwassa was adamant that the Majimaji ideology owed nothing to outside influences.Gwassa's contention has been largely unchallenged despite obvious paradoxes. Majimaji emerged in a region widely permeated with Islamic influences by 1905, the time of the rebellion. Moreover, the Christian colonial power structure had been present in the outbreak region for some twenty years by 1905, while Christian missionaries had been active in Tanzania for almost forty years. By the time the Majimaji historical tradition was being written in Tanzania in the 1960s, the nation included many Muslims and Christians, including many of Gwassa's research informants, who helped shape his interpretation of Majimaji. Aside from these circumstantial suggestions of the possibility of an externally-influenced Majimaji tradition, a close reading of archival sources from the German period, including several documents which have not been considered in the historiographical tradition, suggest that Christian and Islamic influences helped to shape the writing of Majimaji, if not the resistance movement itself. This paper will examine some of these “Abrahamic” sources of the Majimaji tradition, and consider how they might have been used to formulate a Majimaji epic which has become a standard icon of early African colonial history.

scholarly journals The Problem of Ukrainian-Polish Coexistence in the Ukrainian Conservative Political Thought of the Interwar Period: Lypynskyi Versus Tomashivskyi in the Framework of Epoch

2021 ◽  
pp. 67-84
Author(s):  
Volodymyr Potulnytskyi ◽  
Keyword(s):  
Interwar Period ◽  
Political Thought ◽  
Mutual Understanding ◽  
Main Emphasis ◽  
Western Ukraine ◽  
History Of ◽  
The Creation ◽  
The One ◽  
Territorial Group

While studying Polish-Ukrainian relations, outstanding Ukrainian conservative thinkers, namely Vjacheslav Lypynskyi and Stepan Tomashivskyi, focused mainly on the problem of distinguishing the role of Poland in the history of the Ukrainian people and on the issue of orientation towards Poland as a factor in the emergence of the Ukrainian state. The role of Poland in the history of the Ukrainian people, according to conservatives, was twofold. On the one hand, it was Poland that paved the way for Ukraine to Europeanization, providing examples of state-style literature and culture. This constructive role of Poland was especially fruitful in comparison with the Asian influences of Moscow. In this context, the conservatives emphasized that these were the Poles who played a key role in the process of separating Ukrainians from Russia, promoting the rise and establishment of the Cossacks and the Hetmanate, as well as creating the very name “Ukraine”. Conversely, the conservatives negatively assessed the Treaty of Hadiach for Ukraine, which, in their opinion, was very rational, on the one hand, and contributed, on the other hand, to the extermination of the elite and aristocratic democracy, and which disorganized the nobility and made it republican by eliminating its chivalrous essence and adding destructive anarchism instead. The conservatives also sharply assessed the Treaty of Warsaw between Petliura and Pilsudski. Simultaneously, Ukrainian monarchists did not consider Poland a force that could play a role in the creation of the Ukrainian state, although they considered the territorial autonomy of Halychyna under Poland as the first stage in educating the citizens of Western Ukraine in the spirit of the state monarchical idea. They took the position of mutual understanding between Ukrainian conservatives and Halychyna Poles in achieving the autonomy of Ukrainian lands under Poland, although they condemned the concept of a federation of Poland and Ukraine in Halychyna under the conditions put forward by Halychyna Ukrainian National Democrats. Conservatives considered such a strategy doomed to failure without the creation of a conservative territorial group in Halychyna composed of local Poles and Ukrainians. Relying heavily on local Poles not affiliated with metropolitan Warsaw, they placed the main emphasis on the internal organization of the monarchists rather than on external allies, including Poland

scholarly journals LA MUJER Y LA EDUCACIÓN DE LA PRIMERA INFANCIA EN LA ARGENTINA EN LA DÉCADA DE 1960

2019 ◽  
Vol 21 (2) ◽  
pp. 252
Author(s):  
Mónica Fernández Pais
Keyword(s):  
Twentieth Century ◽  
Oral History ◽  
Primary Sources ◽  
Master Gardener ◽  
Women In It ◽  
Women And Education ◽  
Las Mujeres ◽  
The 1960S ◽  
Siglo Xx

En este artículo abordaremos algunas cuestiones relacionadas con la Educación Inicial y el protagonismo de las mujeres en la misma en los albores de la segunda mitad del siglo XX. Nos interesa analizar cómo se constituye un modo de ser “maestra jardinera” y para ello debemos remontarnos a los aportes de los primeros pensadores que advertían sobre el lugar protagónico de la madre en la construcción de una sociedad nombrada como educada. Las prescripciones para ser mujer y madre parecen influir de modo decisivo en las representaciones acerca del ser “maestra jardinera".. MULHERES E EDUCAÇÃO DA PRIMEIRA INFÂNCIA NA ARGENTINA NA DÉCADA DE 1960 Neste artigo, abordaremos algumas questões relacionadas à Educação Infantil e o papel da mulher no início da segunda metade do século XX. Interessa-nos analisar como se constitui um modo de ser "jardineiro mestre" e, para isso, devemos voltar às contribuições dos primeiros pensadores que alertaram sobre o lugar protagônico da mãe na construção de uma sociedade denominada de educada. As prescrições de ser mulher e mãe parecem ter influência decisiva sobre as representações de ser professora dos mais jovens, registradas nas fontes primárias e testemunhos da história oral. Palavras-chave: Mulher; Professor de jardim de infância; Jardim de infância. WOMEN AND EDUCATION OF FIRST CHILDHOOD IN ARGENTINA IN THE 1960S Abstract: in this article we will address some issues related to Early Education and the role of women in it at the dawn of the second half of the twentieth century. We are interested in analyzing how a way of being "master gardener" is constituted and, for that, we must go back to the contributions of the first thinkers who warned about the protagonic place of the mother in the construction of a society named as educated. The prescriptions for being a woman and a mother seem to have a decisive influence on the representations about being a teacher of the youngest ones, as recorded in the primary sources and testimonies of oral history. Keywords: Woman; Kindergarten teacher; Kindergarten.

scholarly journals Prehistory and prerequisites of the creation of the Mari national theatre (1907–1919)

2020 ◽  
Vol 12 (3) ◽  
pp. 332-343
Author(s):  
Erik A. Yuzykayn
Keyword(s):  
Twentieth Century ◽  
Rapid Development ◽  
Native People ◽  
Systematic Analysis ◽  
National Theatre ◽  
The People ◽  
Research Problems ◽  
The Creation ◽  
Set Up ◽  
Education And Development

Introduction. Alongside with other cultural initiatives, the development of the theatre movement as a forerunner of the creation of the Mari national theatre was the result of the development of Mari cultural nationalism in the early twentieth century. The purpose of this article is to consider the facts of the prehistory of the creation of the Mari national theatre, which was set up in November 1919, and the factors that influenced the development of the theatre movement among Mari people. Materials and Methods. To achieve the goals, the author reviewed the first Mari periodicals, research and publications on the history of the Mari theatre and the development of the national movement, and the protocols of the Mari congresses. The systematic analysis of sources for the reviewed period, an attempt to restore events in chronological order allows us to formulate the most objective answers to the research problems. Results and Discussions. One of the key factors that influenced the development of the Mari theatre movement and interest to the theatre was the movement for the national and cultural education and development of the Mari people, initiated by Mari cultural nationalists that gradually developed since the beginning of the twentieth century. Prehistory of the creation of the Mari national theatre in November 1919 goes back about ten years and it is linked with the publication of the first periodical in the Mari language “Marla calendar”, development of literary creativity in the Mari language, and the first amateur initiatives to stage performances. The climax of this prehistory was the decisions made by the first Mari forums on theatre issues, and the rapid development of interest to the theatre among the people in 1917–1919. Along with this factor, the cultural and social specific features of Mari played an important role: a theatrical tradition in the festive and ritual spheres and the low level of literacy of the people in this period. Conclusion. The processes of development of modern Mari national culture, began with the publication of “Marla calendars”, were crucial for the entire Mari people. The ideological contradictions that appeared with the development of Soviet power among the Mari intelligentsia did not immediately begin to influence the work of the first Mari playwrights. The supporters of different ideological movements were the colleagues for many years. Although they had disagreements, they acted in a single direction in the development of their native people, in particular in support of the theatre movement. Newspaper publications and increased dramatic creativity clearly indicate that the Mari activists intuitively, and sometimes purposefully, fuelled interest in theatrical creativity, promoted and, thus, preceded the appearance of their own national professional theatre.

A Space for Time

Futures ◽  
2021 ◽  
pp. 51-68
Author(s):  
Sandra Kemp
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Temporal Organization ◽  
Early Twentieth Century ◽  
The Social ◽  
Political Narratives ◽  
The Future ◽  
The Creation ◽  
Essay Tests

This essay analyses the role of museums in the creation of futures imaginaries and the ways in which these are embedded in socio-political narratives over time (narratives of nation, empire, power, consumption, and home). The essay tests its hypotheses through charting the evolution of the nineteenth-century phenomenon of the soirée—exhibitions and events showcasing technological, scientific, and cultural innovations of the future—from their heyday in the mid nineteenth century to their demise in the early twentieth century. In particular, the essay explores the social, spatial, and temporal organization of nineteenth- and early twentieth-century soirée display spaces as carriers of future worlds. It argues that the creation of futures imaginaries depends on interrelationships between people and objects across space and time, and that the complex web of relations established between words, objects, spaces, and people in exhibitions provides catalysts for ideas, ideologies, and narratives of the future.

scholarly journals Stylistic directions in Stevan Hristic’s oratorio Vaskrsenje, Resurrection: The question of crossroads-traditions in Serbian music at the beginning of the twentieth century

Muzikologija ◽  
2004 ◽  
pp. 25-37 ◽  
Author(s):  
Katarina Tomasevic
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Interwar Period ◽  
Church Music ◽  
Artistic Development ◽  
World War ◽  
National Theatre ◽  
The World ◽  
Central Characteristic ◽  
National Music

Vaskrsenje (Resurrection) which was composed by Stevan Hristic (libretto Dragutin Ilic) was a first oratorio in Serbian music. The libretto was published in a journal Odjek (Echo) in 1909, with the first performance in 1912 at the Belgrade National Theatre. During the period 1909-1912, the young composer studied church music in Moscow and Rome. He studied with Dom Lorenzo Perosi in Rome, who was a director of the Sistine Chapel at the time, and a leading composer of church music. Perosi also composed two oratorios with the Resurrection as a subject-matter. His stay in Rome, as well as the encounter with the contemporary Italian style of church music left a strong impression on Hristic and his later opus. The oratorio Resurrection is freely permeated with both romantic and impressionist elements, hence the impression of the typically Western fin-de-si?cle style. Compared to Serbian performances until that time, Hristic?s work represented a complete novelty in its style and genre; it was considered as one of the first works of Serbian musical Modernism. Despite the audience?s positive reception, the oratorio was faced with a highly negative criticism of Jovan Zorko and Miloje Milojevic. Both of them criticized Hristic for not having composed the work in the spirit of "national music". Hristic defended his poetics claiming that the idea of composing a national music did not comprise the use of folk melodies, but rather composing according to the highest professional and aesthetic criteria. A debate which was anticipated concerning the meaning and the importance of "national" poetics arose as a reaction to Resurrection. This debate remained important in two ways: 1) it remained a "typical" debate for the dynamic development of Serbian music following the World War I and 2) it became the central characteristic of the overall artistic development in Serbia during the interwar period, which was "coming close" and eventually became the part of Europe.

“A Triumph in Culinary Art”: Epicurean Displays at the Copley Plaza

2011 ◽  
Vol 11 (4) ◽  
pp. 78-85
Author(s):  
Michelle Tolini Finamore
Keyword(s):  
Twentieth Century ◽  
Oral History ◽  
Fine Art ◽  
Three Generations ◽  
Early Twentieth Century ◽  
History Of ◽  
The Creation ◽  
The 1960S ◽  
Extensive Family

From the early twentieth century through the 1960s, three generations of the Tolini family participated in culinary expositions organized by the Epicurean Society of Boston and Les Amis d'Escoffier. The French gastronomic traditions of Auguste Escoffier and Antonin Carême informed the creation of the elaborate and highly decorative tallow sculptures that were the centerpieces of these displays. Drawing upon an extensive family archive of photographs, menus, and ephemera, the author delves into the history of these extraordinaires, or pièces montées. The article explores the fabrication techniques and aesthetics of the centerpieces through oral history and seminal nineteenth- and twentieth-century culinary books such as The Escoffier Cook Book: A Guide to the Fine Art of Cookery and more obscure works such as Escoffier's Les Fleurs en Cire. The investigation uncovers the original sources of inspiration for the annual competitions, as well as a unique tradition of craftsmanship that was handed down from father to son to grandson.

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