The Italian coffee triangle: From Brazilian colonos to Ethiopian colonialisti

Modern Italy ◽  
2021 ◽  
pp. 1-22
Author(s):  
Diana Garvin
Keyword(s):  
East Africa ◽  
Coffee Bean ◽  
The Novel ◽  
Trade Routes ◽  
History Of ◽  
Key Sites ◽  
Artistic Legacy ◽  
The Way

This article investigates the history of coffee culture across three continents during the Fascist ventennio (1922–45.) By using the novel framework of coffee, from the bean in the field to the machine in the caffè, it connects interwar histories that previously have been explored independently. Specifically, it examines the transnational economics of coffee bean trade routes and the colonial imagery of coffee advertising to argue that caffès emerged as key sites for promoting the Fascist imperial projects in East Africa – an architectural and artistic legacy that remains in place today. Ultimately, this trajectory broadens the way that we understand how food and farming became politicised during the Fascist period. By untangling the interwar trade of beans and bodies between Italy, Brazil, and Ethiopia, this article brings to light an untold story of caffeinated imperial aggression and resistance.

scholarly journals READING TOURS INTO MALAYSIAN NARRATIVES: LOCALES IN THE GARDEN OF EVENING MISTS AND THE NIGHT TIGER

2021 ◽  
Author(s):  
Swagata Sinha Roy ◽  
◽  
Kavitha Subaramaniam ◽  
Keyword(s):  
Cultural History ◽  
Small Towns ◽  
The Novel ◽  
Written Narratives ◽  
Cameron Highlands ◽  
History Of ◽  
Research Questions ◽  
Japanese Gardens ◽  
To Come ◽  
The Way

If one has not read local English novels like The Garden of Evening Mists and The Night Tiger, one would never be able to imagine the wonders of locales depicted in these two books. One of the reasons the authors here want to visit a said destination is because of the way a certain place is pictured in narratives. Tan Twan Eng brings to life the beauty of Japanese gardens in Cameron Highlands, in the backdrop of postWorld War II while Yangsze Choo takes us into several small towns of Kinta Valley in the state of Perak in her beautifully woven tale of the superstitions and beliefs of the local people in Chinese folklore and myth in war torn Malaysia in the 1930s and after. Many of the places mentioned in these two novels should be considered places to visit by tourists local and international. Although these Malaysian novelists live away from Malaysia, they are clearly ambassadors of the Malaysian cultural and regional heritage. In this paper, a few of the places in the novel will be looked at as potential spots for the coming decade. The research questions considered here are i) what can be done to make written narratives the new trend to pave the way for Visit Malaysia destinations? ii) how could these narratives be promoted as guides to the history and culture of Malaysia? The significant destinations and the relevant cultural history of the regions will be discussed in-depth to come to a relevant conclusion.

The Stage Career of Eliza Haywood

1964 ◽  
Vol 5 (2) ◽  
pp. 107-116 ◽  
Author(s):  
John R. Elwood
Keyword(s):  
Eighteenth Century ◽  
Jonathan Swift ◽  
Henry Fielding ◽  
Woman Writer ◽  
Eliza Haywood ◽  
The Novel ◽  
Domestic Novel ◽  
History Of ◽  
Early Eighteenth Century ◽  
The Way

Female playwrights of varying degrees of quality were reasonably plentiful in late seventeenth and early eighteenth century England; but, except for Eliza Haywood, few of these playwrights doubled as actresses, at least with sufficient success for us to be aware of their talents. Even the stage career of Mrs. Haywood, one extending at least from 1715 to 1737, has not been documented in its entirety before now. It deserves attention because it adds some details to the scanty biography of this woman who is best known as a novelist, a novelist who turned out scandal chronicles long before Richardson made the novel morally acceptable, and who in 1751 produced what may be the first domestic novel in English,The History of Miss Betsy Thoughtless. Along the way she had some success as a publisher, as the first woman writer of a periodical for women, as a poet, and as a playwright and actress. It was her efforts in the theater that drew the attention of such men as Jonathan Swift and Richard Savage and brought her into a rather lengthy association with Henry Fielding. And it was her theatrical experience that contributed much to her eventual skill as a novelist. She liked the stage, and much of what we like in her later work she owed to the stage.

scholarly journals Going to America to See the Fens Better? Stephen Gyllenhaal’s Waterland

Text Matters ◽  
2015 ◽  
pp. 205-217
Author(s):  
Adam Sumera
Keyword(s):  
Time Travel ◽  
Film Adaptation ◽  
American City ◽  
The Novel ◽  
Wide Scope ◽  
The Past ◽  
History Of ◽  
New Material ◽  
Order Of Presentation ◽  
The Way

Waterland (1992), directed by Stephen Gyllenhaal on the basis of the screenplay by Peter Prince, is a film adaptation of Graham Swift’s novel under the same title, published in 1983. The book could be called unfilmable although the history of cinema knows examples of successful screenings of apparently unfilmable novels, e.g., The French Lieutenant’s Woman. In the case of Swift’s novel, the main potential difficulties could be seen in its wide scope, its intricate mosaic character, and its style. The article analyzes the changes introduced in the adaptation, including the shift of the contemporary action from Greenwich, England to the American city of Pittsburgh. The way of connecting the present with the past by means of “time travel” is discussed. Consequences for possible interpretation resulting from omitting certain elements of the book and introducing new material as well as changing the order of presentation of some of the scenes are shown. Comments on the film are juxtaposed with interpretations of some aspects of the novel taken from key critical texts on Swift’s book. Also specifically cinematic solutions present in Gyllenhaal’s movie are taken into account.

scholarly journals Crisis of the Mythological? The Melting of the Polar Ice in Greenland in Alfred Döblin’s Berge Meere und Giganten

Nordlit ◽  
2008 ◽  
Vol 12 (1) ◽  
pp. 161
Author(s):  
Hanna Maria Hofmann
Keyword(s):  
20Th Century ◽  
The Arctic ◽  
The Novel ◽  
Polar Ice ◽  
Central Thesis ◽  
Short Summary ◽  
History Of ◽  
Solid Form ◽  
The Way

The novel Berge Meere und Giganten was written in 1924. I would like to focus my attention on the 7th book in the novel, whose title is Die Enteisung Grönlands (The Melting of the Polar Ice in Greenland). To begin with, I will give a short summary of what the novel is about. The project to melt Greenland's polar ice forms the culmination of a history of the whole of humanity running from the 20th century all the way until the 27th century. Using all their military and technological might, the heat of the Icelandic volcanoes is captured in solid form and transported by ship to the Arctic. With the help of a gigantic net, this heat is then unloaded on to Greenland, thus melting its ice. Greenland ‘strikes back' however, firstly by casting a magical spell. My central thesis is that Döblin`s Greenland fiction is about the destruction of the myth of Greenland and that this ultimately documents a crisis of the mythological itself. 

European Language and the Resistance

2020 ◽  
pp. 93-128
Author(s):  
Julia Elsky
Keyword(s):  
Jewish People ◽  
Language Choice ◽  
Postwar Period ◽  
The Novel ◽  
European Language ◽  
Shared History ◽  
European Democracy ◽  
History Of ◽  
Multiple Languages ◽  
The Way

This chapter looks at language choice within the context of Franco-Polish relations in the Resistance in Romain Gary’s novel Éducation européenne. It draws on Mikhail Bakhtin’s concept of heteroglossia to analyze characters who speak in multiple languages but whom Gary represents in French. Gary’s use of heteroglossic French and of multilingualism in the novel is a response to the politics of La France libre, the journal where excerpts from his novel were first published. French and Polish authors of numerous articles focus on links between France and Poland—especially through a shared history of Romantic Revolution—as an expression of European democracy, one that could pave the way for a united Europe in the postwar period. Gary represents this link through language, but he also inserts Jewish language into the discussion, including the Jewish people in a European Resistance.

Masai and Kikuyu Responses to the Establishment of British Administration in the East Africa Protectorate

1970 ◽  
Vol 11 (1) ◽  
pp. 127-143 ◽  
Author(s):  
G. H. Mungeam
Keyword(s):  
East Africa ◽  
Active Participation ◽  
Political Protest ◽  
Protest Movements ◽  
History Of ◽  
The Law ◽  
Law Courts ◽  
The Government ◽  
The Way

This paper attempts to study the contrasting responses of two Kenya tribes, the Masai and the Kikuyu, to the establishment of British administration. It suggests that neither reacted in the way expected of them by early British officials, who anticipated that the Masai would forcefully oppose the British entry, while little or no resistance was expected from the Kikuyu.Instead, the Masai actively co-operated with the British, through the support of a laibon, Lenana, and the provision of levies who accompanied British punitive expeditions. Although twice removed from their lands, the Masai still did not fight, but appealed to the law courts. When this failed, they showed little or no interest in further opposition. Although apparently having some cause to resent treatment received at the hands of the British, they showed virtually no interest in the protest movements of the twenties.By contrast the Kikuyu, far from standing aside as had been expected, opposed the British entry in a series of short engagements, in which they suffered considerable casualties. Soon, however, collaborators began to emerge and ‘chiefs’ such as Kinyanjui—created by the British and beholden to them–benefited considerably from the connexion. Despite this co-operation, the earlier resentments continued and were reinforced by losses of land to European settlers, and by the unsettling effects upon tribal life of the proximity of Nairobi and the teaching of the missions. When, after the acute sufferings of the war years, further demands were made by the government, the Kikuyu responded by active participation in organized political protest.Possible reasons are put forward for these contrasting responses, and the suggestion is made that differing attitudes to the protest movements of the twenties can be more fully appreciated when the history of these earlier years is taken into account.

scholarly journals «The White Guard» on TV: fascinated by masscult mythology

2014 ◽  
Vol 6 (1) ◽  
pp. 60-67
Author(s):  
Sergey Nikolayevich Ilchenko
Keyword(s):  
Civil War ◽  
Mass Culture ◽  
The Novel ◽  
Soviet Film ◽  
Literary Source ◽  
Mikhail Bulgakov ◽  
Semantic Difference ◽  
History Of ◽  
The Way

The article analyzes the television adaptation of the famous novel by Mikhail Bulgakov, shown on Russian television in 2012. The author juxtaposes the TV-series with the renowned Soviet film Days of the Turbins, premiered in 1976. The analysis is carried out in the context of the history of a theatre version of the novel The White guard, staged in the Moscow Academic Art Theatre in the 1920s, that is Days of the Turbins, highly appreciated by Stalin. Traditionally, both theatre and cinema directors were drawn to the play adapted by Mikhail Bulgakov after his novel. Anyhow, there is a certain subject and semantic difference between these two works. The author analyzes the structure of the TV version, its style, elaboration of on-screen characters, based on the literary source and previous interpretation of the play Days of the Turbins. However, the author argues, that ideological and figurative interference into the original, adaptation to the stereotypes of mass culture significantly distort the perception of Bulgakovs works, largely obliged to the writerss mood and emotions experienced in the years of Revolution and Civil war. Concluding, the author pinpoints both - complexity unit of Bulgakovs text adaptation towards contemporary TV, and misjudgements of the TV-series makers in the way of conception and realization.

Netta Syrett, Nobody’s Fault, and Female Decadence: The Story of a Wagnerite

2019 ◽  
Vol 25 (2) ◽  
pp. 185-199
Author(s):  
Crescent Rainwater
Keyword(s):  
Middle Class ◽  
Aesthetic Experience ◽  
Richard Wagner ◽  
The Self ◽  
The Novel ◽  
Narrative Style ◽  
Art Objects ◽  
History Of ◽  
Female Audience ◽  
The Way

Abstract Scholars have traditionally associated decadence with misogyny, and therefore it has typically been perceived as antithetical to feminism. Nobody’s Fault (1896), Netta Syrett’s first novel, complicates this perception through the way in which the self-assertive protagonist, Bridget Ruan, finds in the decadent music of Richard Wagner a liberating form of aesthetic experience. In this essay, I argue that encountering Wagner’s music marks Bridget’s immersion into a form of decadent culture that affirms her aesthetic longings and awakens her erotic desires. At the same time, the novel condemns an antifeminist form of decadence that is associated with elitist male artists who indulge in a superficial manipulation of language and treat women as art objects. The novel’s resistance to exclusionary forms of aesthetic experience is modelled in its straightforward narrative style and strategic engagement with familiar New Woman themes. This middlebrow narrative thus made Syrett’s intervention into debates about women and decadence accessible to a middle-class female audience. When we recognize that the history of decadence includes its appeal to feminist writers such as Syrett rather than an exclusively antifeminist legacy, we can begin to uncover a more nuanced history of feminism and decadence in England at the fin de siècle.

scholarly journals ‘Koloniseren is een smaak die je moet leren’ – Hugo Claus en Het leven en de werken van Leopold II (1970)

2017 ◽  
Vol 46 (1) ◽  
pp. 151-166
Author(s):  
Yves T’Sjoen
Keyword(s):  
The Novel ◽  
Low Countries ◽  
Political Situation ◽  
Social Perspectives ◽  
The People ◽  
The Sixties ◽  
History Of ◽  
Points Of View ◽  
Congo Free State ◽  
The Way

The première of Claus’ play Het leven en de werken van Leopold II (The Life and Works of Leopold II), in November 1970 (by the company Nederlandse Comedie), was directed by the author himself. After a second and again rather unsuccessful run (1972–1973, Arena, director: J. Tummers) it disappeared from the stage for nearly thirty years: there was no other production of Claus’ play in the Low Countries until the autumn of 2002 (KVS, director: R. Ruëll). Undoubtedly Het leven en de werken van Leopold II is one of the lesser-known plays by the Flemish author Hugo Claus (1929–2008). While writing it, at the end of the sixties, Claus was simultaneously working on two poetry collections. Van horen zeggen contains accessible poems, sometimes rather anecdotal, with many references to the contemporary political situation. These poems show a clear affinity with the neo-realistic poetry that was dominant in Dutch-language literature in the sixties. Also in 1970, on the same day as Van horen zeggen, Claus published Heer Everzwijn (Lord Wild Boar), manneristic poetry showing another poeta faber. Given Claus’ interest in the history of the Congo Free State (see also the novel De geruchten [The rumours]) and the way he caricatures King Leopold II and his government in Het leven en de werken, it is worth investigating the political and social perspectives articulated in both his drama and his poetry. What are the similarities between the poet and the playwright? How can we explain his interest in the way Leopold mistreated the people of the Congo? In this essay I present the ideological and social points of view adopted by Claus in a broad literary and political context, studying his play on Leopold’s atrocities in what would later (in 1908) become a Belgian colony, alongside the poetry he produced in the same period. 

scholarly journals El papel de las exposiciones en la escritura de la (androcéntrica) historia del arte del País Vasco = The Role of Exhibitions in the Writing of the (Androcentric) History of Art of the Basque Country

2020 ◽  
pp. 301
Author(s):  
Ane Lekuona Mariscal
Keyword(s):  
Basque Country ◽  
El Paso ◽  
Feminist Perspective ◽  
Common Trends ◽  
History Of Art ◽  
History Of ◽  
Pais Vasco ◽  
Artistic Legacy ◽  
The Way

Este artículo aborda desde una perspectiva feminista la importancia que han tenido las exposiciones a la hora de escribir, consolidar y naturalizar la historia del arte del País Vasco de los años 1950-1975. A partir de una revisión que comienza en la década de los setenta, se estudia cuáles han sido las tendencias más usuales a la hora de presentar a través de los medios expositivos este pasado artístico y, por tanto, cómo se relaciona este hecho con la sistemática invisibilización que vienen sufriendo desde entonces las artistas que produjeron obra en el periodo señalado. Por último, se cuestiona si con el paso de los años, las demandas feministas han tenido el impacto deseado en la manera de exhibir este legado histórico-artístico o si, por el contrario, todavía quedan tareas pendientes.AbstractThis article addresses from a feminist perspective the importance that exhibitions have had in the task of writing, consolidating and naturalizing the history of art in the Basque Country in the years 1950-1975. Based on a review that begins in the 1970s, the text studies the most common trends in presenting this artistic past through exhibitions and, therefore, how this is related to the systematic invisibility that artists who produced work in this period have suffered since then. Finally, it is questioned whether, over the years, feminist demands have had the desired impact on the way this historical-artistic legacy is exhibited or whether, on the contrary, there is still work to be done.

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