6.122 RECOGNIZING TRAUMA ON CHILD INPATIENT PSYCHIATRIC UNITS IN THE 1950S AND THE TWENTY-FIRST CENTURY

2016 ◽  
Vol 55 (10) ◽  
pp. S243
Author(s):  
Michael A. Feder ◽  
Schuyler W. Henderson ◽  
Jennifer Havens
Keyword(s):  
First Century ◽  
Psychiatric Units ◽  
The 1950S ◽  
Twenty First Century

Labels, Histories, Politics: Indian/South Asian Dance on the Global Stage

2008 ◽  
Vol 26 (2) ◽  
pp. 223-243 ◽  
Author(s):  
AVANTHI MEDURI
Keyword(s):  
South Asian ◽  
First Century ◽  
Nation State ◽  
The South ◽  
Global Networks ◽  
Indian Nation ◽  
The 1950S ◽  
Twenty First Century ◽  
The Uk

In this paper, I discuss issues revolving around history, historiography, alterity, difference and otherness concealed in the doubled Indian/South Asian label used to describe Indian/South Asian dance genres in the UK. The paper traces the historical genealogy of the South Asian label to US, Indian and British contexts and describes how the South Asian enunciation fed into Indian nation-state historiography and politics in the 1950s. I conclude by describing how Akademi: South Asian Dance, a leading London based arts organisation, explored the ambivalence in the doubled Indian/South Asian label by renaming itself in 1997, and forging new local/global networks of communication and artistic exchange between Indian and British based dancers and choreographers at the turn of the twenty-first century.

Staging Beckett: Constructing Histories of Performance

2014 ◽  
Vol 23 (1) ◽  
pp. 11-33 ◽  
Author(s):  
Anna McMullan ◽  
Trish McTighe ◽  
David Pattie ◽  
David Tucker
Keyword(s):  
First Century ◽  
Research Project ◽  
The 1950S ◽  
Twenty First Century ◽  
The Uk ◽  
Victoria And Albert Museum

This multi-authored essay presents some selected initial findings from the AHRC Staging Beckett research project led by the Universities of Reading and Chester with the Victoria and Albert Museum, London. For example, how did changes in economic and cultural climates, such as funding structures, impact on productions of Beckett's plays in the UK and Ireland from the 1950s to the first decade of the twenty-first century? The paper will raise historiographical questions raised by the attempts to map or construct performance histories of Beckett's theatre in the UK and Ireland.

scholarly journals Sacred Spaces in a Holy City. Crossing Religious Boundaries in Istanbul at the Turn of the Twenty-First Century

2019 ◽  
Vol 9 ◽  
pp. 34-56
Author(s):  
Méropi Anastassiadou-Dumont
Keyword(s):  
Cultural Diversity ◽  
Local Economy ◽  
First Century ◽  
Religious Practices ◽  
Nation State ◽  
Sacred Spaces ◽  
The 1950S ◽  
Twenty First Century ◽  
The City ◽  
Holy City

The article examines Muslim pilgrimages to Christian places of worship in Istanbul after the 1950s. It aims to answer whether and how the Ottoman heritage of cultural diversity fits or does not fit with the pattern of the nation-state. After a brief bibliographic overview of the issue of shared sacred spaces, the presentation assembles, as a first step, some of the key elements of Istanbul’s multi-secular links with religious practices: the sanctity of the city both for Christianity and Islam; the long tradition of pilgrimages and their importance for the local economy; meanings and etymologies of the word pilgrimage in the most common languages of the Ottoman space; and the silence of the nineteenth century’s Greek sources concerning the sharing of worship. The second part focuses more specifically on some OrthodoxGreek sacred spaces in Istanbul increasingly frequented by Muslims during the last decades.

Conclusion

2018 ◽  
Author(s):  
Emily Abrams Ansari
Keyword(s):  
Cold War ◽  
American Exceptionalism ◽  
First Century ◽  
The 1950S ◽  
Twenty First Century ◽  
The Cold War

The conclusion begins with a consideration of the ways in which Aaron Copland’s sound has become associated with American exceptionalism in its different twenty-first-century articulations. It argues that the Cold War rebranding of Americanist music described in this book, achieved with the willing participation of Copland and many of his colleagues, made this realignment of the meaning of Copland’s music possible. It explains that the Americanists did indeed experience serialism as “tyrannous” during the 1950s, the result of music-stylistic choices becoming politicized and binarized at a time when so many choices were silently interpreted as an ideological “either/or.” In closing, the conclusion considers the larger issues surrounding musical nationalism, culture, politics, and power that the Americanists’ story raises.

Hiraethi Jan Morris

2021 ◽  
Vol 8 (3) ◽  
pp. 368-385
Author(s):  
Gina Gwenffrewi
Keyword(s):  
First Century ◽  
Complex Interplay ◽  
Transgender Studies ◽  
Transgender Identity ◽  
Welsh Language ◽  
British Colonial ◽  
The 1950S ◽  
Twenty First Century

Abstract Within transgender studies, Jan Morris casts a problematic shadow, with Aren Aizura identifying how “Morris's entire literary and historical oeuvre . . . [is] a tacit articulation of a British colonial ideology.” Yet this position appears to be based on Morris's works between the 1950s and 1970s, up to and including her memoir Conundrum, and represents arguably only the first of three periods in Morris's writing. This essay argues that two subsequent periods diversify our understanding of Morris as a complex, transcultural figure: her broadly leftist, anticolonial writing on Wales and the Welsh language (1980s–90s), and then in the twenty-first century when Morris increasingly appears to question the colonial, nationalist, and cisheteropatriarchal ideologies that have shaped her previous writing. This essay concludes that Morris's body of work provides valuable evidence as to the complex interplay of Welsh, British, and European conceptions of gender that characterize her attitude and writing on transgender identity.

scholarly journals Nigerian women artists’ visibility in twenty-first century contemporary art practices: A triumph against exclusions from art groups and collectives in Nigeria

2021 ◽  
Vol 20 (1) ◽  
pp. 59-67
Author(s):  
Nkiruka Jane Nwafor
Keyword(s):  
Civil War ◽  
Contemporary Art ◽  
Women Artists ◽  
Art History ◽  
First Century ◽  
Nigerian Women ◽  
Post Colonial ◽  
Art Practices ◽  
The 1950S ◽  
Twenty First Century

Nigerian artists began forming art groups and schools from the 1950s and 1960s. These art groups advanced the reclaiming of Nigeria‟s artistic cultural heritages. However, even in the post-colonial and post-Civil War 1970s and 1980s many art groups and art institutions had few or no female members that participated in their activities. This essay reviews notable art groups in Nigeria from the earliest to the more recent. It also identifies the prominent women artists that had contributed to modern Nigerian art history. The essay also looks at the changes in the 1990s‟ and identifies contemporary art and its liberal and individualistic approaches as what caused decline in art groups in the twenty-first century. It will identify the women making impact in Nigeria‟s art scenario in the twenty-first century. The essay argues therefore that the liberalizing nature of twenty-first century contemporary art practices in Nigeria may have endeared more visibility to Nigerian women artists.

This Machine Plays Country Music

2017 ◽  
Author(s):  
Timothy Miller
Keyword(s):  
Country Music ◽  
First Century ◽  
The 1950S ◽  
Twenty First Century ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Crucial Part

This chapter explores the origins and development of the pedal steel guitar, showing the evolution of instrument traditions as an undercurrent to histories of genre and style. The pedal steel’s emergence in the early 1950s was a continuation of developments from the previous decades, as the exploration of technological answers to the musical “problems” of the steel guitar led to an expanded palette of sounds and gestures. The development of the instrument’s technology and vocabulary occurred within a community of musicians and makers whose priorities both reinforced and challenged the aesthetic values of country music. This history is illustrated through transcriptions and analyses of recordings by key innovators of the 1950s–1970s. The chapter concludes by discussing different trajectories of the pedal steel in the twenty-first century, where it remains a crucial part of country music but has also found a place in other genres and styles.

The Shape of Water and the Cold War Revisited

Cold War II ◽  
2020 ◽  
pp. 129-139
Author(s):  
Cyndy Hendershot
Keyword(s):  
Cold War ◽  
First Century ◽  
Social Commentary ◽  
The 1950S ◽  
Twenty First Century ◽  
The Cold War ◽  
Hays Code

The chapter analyzes Guillermo Del Toro’s Oscar-winning film and its relation to Cold War nostalgia. It claims that The Shape of Water reimagines Cold War America while paying homage to classic tropes of the 1950s. To specify, the film reimagines the classic horror/SF film for a twenty-first-century audience. While the same pathos for the creature exists as in the original that inspired it–The Creature from the Black Lagoon (1954)–Del Toro adds pointed social commentary that would not have been permitted in Hays Code America. The chapter explores how The Shape of Water pays tribute to The Creature from The Black Lagoon while serving as a statement and an update for twenty-first-century filmgoers.

History's living legacy: an outline of ‘modern’ historiography of the common law

Legal Studies ◽  
2001 ◽  
Vol 21 (2) ◽  
pp. 251-324 ◽  
Author(s):  
K J M Smith ◽  
J P S McLaren
Keyword(s):  
Legal History ◽  
Common Law ◽  
First Century ◽  
Historical Interpretation ◽  
The Past ◽  
Capacity To Act ◽  
Steady Current ◽  
The Common ◽  
The 1950S ◽  
Twenty First Century

This essay offers a survey and analysis of the principal methodologies adopted and the aims pursued by ‘modern’ historians of the common law in England, Canada, and America, from Blackstone's time to the opening of the twenty-first century. From the beginning of this period through to the 1950s, the analysis reveals a steady current of contention amongst legal historians in respect of what legal history could do and just how these aims might be realised. The post-1950s era is characterised by the accelerating influence of the methodologies and objectives of extra-legal disciplines. These include, most especially, the work and techniques of social and political historians, and, eventually, the various manifestations of the postmodernist challenge to the segregation of ‘objective’ historical interpretation from the polemical and creative reconstruction of the past. It is argued that the infusion of this methodological new blood has been largely beneficial, enhancing the reach and subtlety of legal historiography, and boosting its overall capacity to act as an intellectually enriching discipline.

scholarly journals Something Funny Happened on the Way to the Twenty-First Century

2021 ◽  
Vol 43 (2) ◽  
pp. 309-329
Author(s):  
Bruce Kuklick
Keyword(s):  
21St Century ◽  
Moral Philosophy ◽  
American Culture ◽  
First Century ◽  
Political World ◽  
The 1950S ◽  
Twenty First Century ◽  
The Way

Abstract This essay first traces change in, roughly, the epistemology of the humanities from the 1950s to the 21st century. The second section looks at how the meaning and options in moral philosophy altered in more or less the same period. The last and easily most speculative section examines how these changes permeated American culture, and how professional philosophers responded to the challenges of the new political world they inhabited.

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