scholarly journals Phone-Crossed Lovers: Dehumanizing Technology in Cocteau's and Poulenc's La Voix humaine

2013 ◽  
Vol 22 (1) ◽  
pp. 86-104
Author(s):  
Lynette Miller Gottlieb
Keyword(s):  
Twentieth Century ◽  
Technological Progress ◽  
Narrative Theory ◽  
Francis Poulenc ◽  
Joint Work ◽  
Jean Cocteau ◽  
Negative Side

Forty years after his previous collaboration with his former mentor Jean Cocteau, Francis Poulenc embarked on another joint work with the playwright, the opera La Voix humaine (1958). The sole character is a woman known as Elle, who converses with her former lover on the telephone, a device representative of the negative side of technological progress made during the first few decades of the twentieth century. This study considers the nature of the collaboration between Cocteau and Poulenc, then employs narrative theory to interpret the telephone's power in this drama.

Pluralist Democracy and the Third World

Worldview ◽  
1978 ◽  
Vol 21 (10) ◽  
pp. 37-41
Author(s):  
Raymond D. Gastil
Keyword(s):  
Twentieth Century ◽  
Medical Care ◽  
Technological Progress ◽  
Third World ◽  
Opinion Leaders ◽  
Forced Labor ◽  
Food Energy ◽  
The Third ◽  
The World ◽  
The Third World

In a century of unexampled economic and technological progress, with the most educated and sophisticated population ever known, much of the world still writhes under the torture, brutality, and forced labor exacted by tyrants of both Right and Left. In more than half the world's nations governments are masters and people are subjects, and to seriously criticize the masters is dangerous to both life and limb. This world needs a great many things, including a more adequate distribution of food, energy, and medical care, but surely a high priority must be given to the eradication of tyranny. The opinion leaders of the democracies must strive as dedicatedly to, end public enslavement in the twentieth century as their predecessors strove to end private enslavement in the nineteenth.

James Scott, Seeing Like a State

2019 ◽  
Author(s):  
Loren King
Keyword(s):  
Twentieth Century ◽  
Political Theory ◽  
Technological Progress ◽  
Practical Knowledge ◽  
The State ◽  
Coercive Power ◽  
Critical Importance ◽  
Rational Planning ◽  
Early Twentieth Century ◽  
The World

States see the world in a particular way, simplifying their domains to better rule them. By the early twentieth century, these ordering imperatives coincided with progressive ideals grounded in hopes that scientific and technological progress could shape the world for good. That conceit—that we should use the formidable power of the state to forge grand rational schemes for human improvement—blinded planners to the critical importance of local, cumulative, practical knowledge. This is Scott’s core thesis in Seeing Like a State, which he supports with a rich (if selective) body of evidence. If we defend Scott’s book as political theory, then we might worry that he has simply rediscovered skeptical themes (specifically, worries about coercive power and rational planning) long-evident in counter-enlightenment, anarchist, libertarian, and postcolonial thought. These worries, while reasonable, should not obscure the great value of Scott’s book as grounded political theory: there are lessons here, both methodological and substantive, for political theory.

scholarly journals The Search for the Sources of Growth: Areas of Ignorance, Old and New

1993 ◽  
Vol 53 (2) ◽  
pp. 217-243 ◽  
Author(s):  
Moses Abramovitz
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Capital Accumulation ◽  
Technological Progress ◽  
Quantitative Description ◽  
Intangible Capital

Many economic historians, like most economists, depend on standard growth accounts to provide some quantitative description of the proximate sources of growth, but this is misleading. American growth experience illustrates the difficulty. The seeming major contribution of tangible capital accumulation to nineteenth-century growth was the consequence of scale-dependent and capital-using technological progress. The large twentieth-century contributions of education and R&D conceal technology's new intangible capital-using bias. Additionally, reverse forces run from capital accumulation to technological progress. Without a greater understanding of these interactions, our knowledge of even the proximate sources of growth is incomplete.

scholarly journals Ricoeur's theory of narrative time and one hundred years of solitude

1969 ◽  
Vol 5 (9) ◽  
pp. 173-182
Author(s):  
Luis Gustavo Álvarez Martínez
Keyword(s):  
Twentieth Century ◽  
Narrative Theory ◽  
Gabriel Garcia Marquez ◽  
Paul Ricoeur ◽  
Twentieth Century Literature ◽  
Future Time ◽  
Cyclical Time ◽  
Paul Ricœur ◽  
Narrative Time ◽  
Century Literature

Paul Ricoeur´s narrative theory of time proposes that we, during our reading, move backwards and forward in narrative time and that “temporality springs forth in the plural unity of future, past and present” (167) . In utilizing his theory of time and the idea of cyclical time as a prominent characteristic in twentieth century literature, I attempt to apply his intriguing theory to an exemplary novel, One Hundred Years of Solitude (1967) by the Colombian Gabriel García Márquez. The essay demonstrates how the circularity of the imaginary travel and the linearity of the quest as such are thus put together. Indeed, time is circular and recurrent rather than rectilinear and progressive in this novel wherein readers are moved between present, past and future time.

Germaine Tailleferre

Music ◽  
2020 ◽  
Author(s):  
Louis K. Epstein
Keyword(s):  
Maurice Ravel ◽  
Francis Poulenc ◽  
Musical Life ◽  
Darius Milhaud ◽  
Jean Cocteau ◽  
French Music ◽  
Arthur Honegger ◽  
Les Six ◽  
Paris Conservatoire ◽  
The Many

Germaine Tailleferre (b. 1892–d. 1983) was a prolific composer of symphonic, chamber, film, and radio music who participated actively in French and international musical life for more than six decades. Tailleferre is most commonly remembered as the sole female member of Les Six, but her association with that group was relatively brief in the broader context of her career. Displaying early brilliance as a student at the Paris Conservatoire, Tailleferre won all the major prizes in her disciplines—Premier Prix in Harmony, Counterpoint, and Accompaniment—but never had the opportunity to compete for the Premier Prix in composition due to the suspension of the competition during the First World War. After leaving the Conservatoire, she studied with Charles Koechlin and Maurice Ravel. The latter in particular inspired her early efforts to imbue her music with neo-Baroque and neoclassical qualities. Tailleferre’s devotion to Ravel in the early 1920s, and her independence from the more capricious, experimental aesthetics pursued by Darius Milhaud, Francis Poulenc, and Georges Auric, led her away from the sphere of Jean Cocteau and Erik Satie, who had helped usher Les Six into existence. In her first full-length ballet, Le Marchand d’oiseaux, composed for the Ballets Suédois in 1923, and in her Concerto for Piano commissioned by the Princesse de Polignac in 1924, Tailleferre demonstrated a propensity for pastiche and emulation, combining allusions to J. S. Bach, Chopin, Poulenc, and Stravinsky. From the beginning through the end of her career, many works reveal her attachment to perpetuum mobile rhythms and Bachian counterpoint. Although her music was widely performed in the 1920s and 1930s, and although she continued to earn accolades throughout her life, including one of the first state commissions from the French government (1938), the Prix de l’Académie des Beaux Arts (1973), and the Grand Prix Musical de la Ville de Paris (1978), her writings and her friends’ reminiscences reveal Tailleferre to have been extraordinarily modest. Due in part to her modesty, Tailleferre left behind far less music criticism and autobiographical writing than most other members of Les Six. Indeed, after Louis Durey, who left Les Six in 1921, Tailleferre is the next most meagerly documented member of Les Six, as a comparison between this article and those of her peers will attest. (See the separate Oxford Bibliographies articles “Arthur Honegger”, “Francis Poulenc”, and “Darius Milhaud”.) And those sources that do treat her output focus disproportionately on her interwar works to the exclusion of the many works she produced later in life, including Paris-Magie (1948) and Concerto de la fidelité (1981). But numerous sources touch on her contributions to French music and on her relationships with artists, composers, patrons, impresarios, and others.

Honegger, Arthur (1892–1955)

2018 ◽  
Author(s):  
Keith Waters
Keyword(s):  
Francis Poulenc ◽  
Darius Milhaud ◽  
Jean Cocteau ◽  
Harmonic Language ◽  
Arthur Honegger ◽  
Acceleration And Deceleration ◽  
Les Six ◽  
French Composers ◽  
Erik Satie ◽  
Symphonic Work

Composer Arthur Honegger was one of a group of six young French composers, known as Les Six, in the forefront of post-WWI Parisian musical modernism. Les Six (Honegger, Francis Poulenc (1899–1963), Darius Milhaud (1892–1974), Georges Auric (1899–1983), Germaine Tailleferre (1892–1983), and Louis Durey (1888–1979)) frequently presented their work together. They were championed by author Jean Cocteau (1889–1963) and loosely associated with composer Erik Satie (1866–1925). Contemporary critics noted a seriousness and profundity to Honegger’s music that contrasted with that of the other members. Honegger’s instrumental compositions, such as his chamber and symphonic works, often cultivated large multi-movement formal structures. Several of his oratorios (for orchestra, chorus, and soloists) treated biblical topics. He also wrote operas, songs, music for ballet, and film scores. Early works, such as the 1921 oratorio Le Roi David and the 1923 symphonic work Pacific 231 (which musically depicts the acceleration and deceleration of a steam locomotive) helped seal Honegger’s international reputation as a modernist whose music was nevertheless eclectic and accessible. Much of Honegger’s music is characterized by strong motoric rhythms, use of counterpoint and contrapuntal devices (imitation and fugue), and an inclusive harmonic language that uses tonality, extended tonality, and atonality.

Saying Obligation: George Oppen's Poetry and Levinasian Ethics

2003 ◽  
Vol 37 (3) ◽  
pp. 407-433 ◽  
Author(s):  
G. MATTHEW JENKINS
Keyword(s):  
Twentieth Century ◽  
Technological Progress ◽  
Ethical Issues ◽  
Pulitzer Prize ◽  
Wide Spread ◽  
Urban Experience ◽  
George Oppen ◽  
The Social ◽  
Material Reality

Because of his work in the 1930s with tenant and labour organizations and his lyrical critique of the consequences of modern technological progress, George Oppen and his poetry have always been labelled as uniquely “moral” or “ethical” by his closest readers and critics. Poems such as The Materials (1962) and the Pulitzer Prize-winning Of Being Numerous (1968) minimalistically present us with the social and material reality of markedly twentieth-century issues: urban experience, nuclear apocalypse, and the persistence of poverty amid wide-spread wealth, just to name a few. And this thematic concern with ethical issues has been one of the main impetuses behind many of the studies of Oppen's ethics.

Why Schumpeter was Right: Innovation, Market Power, and Creative Destruction in 1920s America

2003 ◽  
Vol 63 (4) ◽  
pp. 1023-1058 ◽  
Author(s):  
TOM NICHOLAS
Keyword(s):  
Twentieth Century ◽  
Market Power ◽  
Capital Market ◽  
Technological Progress ◽  
Creative Destruction ◽  
Industrial Firms ◽  
Joseph Schumpeter ◽  
Early Twentieth Century ◽  
Positive Effect

Are firms with strong market positions powerful engines of technological progress? Joseph Schumpeter thought so, but his hypothesis has proved difficult to verify empirically. This article highlights Schumpeterian market-power and creative-destruction effects in a sample of early-twentieth-century U.S. industrial firms; his contention that an efficiently functioning capital market has a positive effect on the rate of innovation is also confirmed. Despite market power abuses by incumbents, the extent of innovation stands out: 21 percent of patents assigned to the firms sampled between 1920 and 1928 are cited in patents granted between 1976 and 2002.

A Brief Analysis of The State of Entertainment Theory

2021 ◽  
pp. 1-22
Author(s):  
Peter Vorderer ◽  
Christoph Klimmt ◽  
Jennings Bryant
Keyword(s):  
Social Sciences ◽  
Social Psychology ◽  
Twentieth Century ◽  
Cultural Differences ◽  
Technological Progress ◽  
The State ◽  
Entertainment Media ◽  
Historical Reasoning ◽  
The Social ◽  
Entertainment Theory

This chapter offers some historical and conceptual orientation to readers of the Oxford Handbook of Entertainment Theory. Departing from a brief review of ancient roots and twentieth-century pioneer works, we elaborate on the state and challenges of contemporary entertainment theory and research. This includes the need to develop a more explicit understanding of interrelationships among similar terms and concepts (e.g., “presence” and “transportation”), the need to reflect more explicitly on epistemological foundations of entertainment theories (e.g., neobehaviorism), and the need to reach back to past, even historical reasoning in communication that may be just as informative as the consideration of recent theoretical innovations from neighboring fields such as social psychology. Finally, we offer some reflections on programmatic perspectives for future entertainment theory, which should try to harmonize views from the social sciences and critical thinking, span cultural differences in entertainment processes, and keep track of the rapid technological progress of entertainment media.

Poulenc

2020 ◽  
Author(s):  
Roger Nichols
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Primary Sources ◽  
Francis Poulenc ◽  
Chamber Works ◽  
Choral Works ◽  
Wide Range ◽  
Orchestral Works ◽  
French Composers ◽  
The Many

Francis Poulenc is a key figure in twentieth-century classical music, as well as an unorthodox and striking individual. This book draws upon Poulenc's music and other primary sources to write an authoritative life of this great artist. Although associated with five other French composers in what came to be called “Les Six,” Poulenc was very much sui generis in personality and in his music, where he excelled over a wide repertoire-opera, songs, ballet scores, chamber works, piano pieces, sacred and secular choral works, orchestral works and concertos. This book fully covers this wide range, while also describing the vicissitudes of Poulenc's life and the many important relationships he had with major figures such as Satie, Ravel, Stravinsky, Diaghilev, Cocteau and others.

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