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This article is about basic word order, morphology, and their relationship to movement. It explores some cross-linguistically pervasive word-order tendencies in which the hierarchical structure is reflected in left-to-right order (1–2–3) or right-to-left order (3–2–1) or in a mix of the two (1–3–2). The article also illustrates that there are basic asymmetries in these patterns for a wide variety of constructions in a wide variety of languages. It investigates one way to capture these ordering patterns: extension of Minimalist theory of phrasal movement. Moreover, the strengths and limitations of the Mirror Principle are reported. The position of agreement morphology or of negation does not seem to give the same sort of direct evidence for clause structure as is given by the position of functor morphemes expressing causation, tense, aspect, modality, and other concepts. Additionally, the article illustrates how verb clusters shed some additional light on the mechanisms responsible for word-order variation.
This chapter focuses on the absence of certain marginal groups from the United Nations’ Women, Peace, and Security Agenda and suggests correctives to those exclusions. The chapter discusses how men and boys as victims of sexual and gender-based violence have been erased in this agenda, and the consequences of this erasure. It challenges the assumptions of militarized masculinity as a uniformly shared identity among conflict-engaged men. It also looks at the outcome of pregnancies resulting from wartime rape and shows how children born of rape are presented and treated in their communities. The chapter draws on research conducted in Peru and Colombia and shows the necessity of understanding both the perpetration and experience of violence in nuanced ways.
Joy H. Calico
This chapter considers three trends evident in recent research on opera in the period 1900–1945. Scholars tend to situate the genre, as well as individual works and composers, in relation to Wagner’s influence; they challenge and expand received wisdom about modernism, either admitting previously marginalized repertoire to that canon or proposing multiple modernisms; and they pursue nuanced analyses of the relationship between opera and Nazi/Fascist regimes. Precisely how one might define opera in a period of such great experimentation is also discussed. Kurt Weill and Bertolt Brecht’s Aufstieg und Fall der Stadt Mahagonny is presented as a case study in which all of these approaches are fruitful.
Two years after the revolution in Russia, the social revolution was once again fermenting on the ruins of the empires defeated in the war. The First World War was turning into a civil war and not only in countries defeated in the war. The year 1919 saw the spread of workers’ and soldiers’ councils and a series of anti-colonial revolts in the Middle East and Far East. As yet, the link between these and the October Revolution was largely symbolic, since the Communist International generally learned of events only after the fact even as it endeavoured to integrate them within a global theoretical framework. Nevertheless it felt as though revolution were spreading like a contagion, at the same time as a wave of repression no less generalized was building up. Opening in revolutionary struggle, the year 1919 would end in victory for counter-revolution.
The year 1936 was a momentous one in the history of communism. This was a time of acute uncertainty and fear, during which the Soviet Union and international communist movement faced unprecedented challenges. This article examines the attempts to build a socialist state in Russia, and to follow new international policies of collective security and the building of popular front alliances. Particular attention is given to the principal developments of the year—the internal crisis in the Soviet Union, the Chinese and Spanish civil wars, the Popular Front in France, the origins of the Great Terror—but also to the more everyday experiences of communists around the world.
This article explores the impact of de-Stalinization on the Soviet Union, Eastern Europe, and China. Writers, artists, and intellectuals welcomed the curtailment of repression—the so- called ‘thaw’—but their calls for openness and tolerance unnerved the Soviet party authorities. In 1956 Nikita Khrushchev denounced Stalin but he did not question the fundamentals of socialism. Still, his criticism of Stalin led to turmoil in the socialist camp, most notably unrest in Poland and the anti-Soviet insurrection in Hungary. While Khrushchev agreed to a reduction of Soviet influence in Poland, he ordered military intervention in Hungary. This intervention undermined the legitimacy of communism, as it made clear that communism in Eastern Europe was a Soviet imposition. Meanwhile, de-Stalinization untied Mao Zedong’s hands. He felt free to pursue China’s socialist transformation the way he thought best. Mao took advantage of Khrushchev’s predicament to assert China’s claim to leadership in the communist world.
Maud Anne Bracke
Around 1968 communism expanded as a global movement, especially in the developing world, while hitting a crisis of legitimation in Europe. In the Western world the late 1960s saw young people aspiring to revolutionary change that involved both individual liberation and social justice. Generational identity underpinned a revolt against authority, leading to acute political crises in France, Italy, and elsewhere. While presenting opportunities to communist parties, this revolt threatened, from Moscow’s perspective, a dangerous proliferation of ‘heterodox’ Marxist thought. In Eastern Europe rebellious populations in Czechoslovakia, Poland, and Yugoslavia demanded greater rights of expression, causing the Soviet Union to intervene militarily in Czechoslovakia. By contrast, Maoism was able to capture the revolutionary, anti-imperialist spirit of the times. Claiming to offer an anti-bureaucratic alternative to the Soviet model, and resituating heroic agency at the heart of communist politics, Maoism appealed to Third World revolutionary leaders and radicals in the West.
The essay argues that the story of 1989 can be told either as a narrow or a wide story. The narrow story focuses on the end of communism, the unification of Germany, and the subsequent integration of former communist states into the European Union. It works especially well for Central and Eastern Europe, although it also has implications for regimes in Africa that relied on Soviet support. However, it also requires considerable qualification, given the survival of communist regimes in China, Vietnam, Cuba, and elsewhere. In the second, wide version of the story, 1989 brings to visibility processes that had been at work for several decades, undermining the power blocs of the Cold War era and the territorially defined polities on which the system of international relations rested. In this story 1989 is of as much relevance to the West as to the former Eastern Bloc. The essay looks at both stories in relation to Gorbachev and perestroika, the US role in the end of the Cold War, German unification, the singing revolution in the Baltic, and 1989 in China and Cuba.
Matthew E. Reynolds
5150: On Unethical Privacy is an autobiographical piece where Matthew Reynolds recounts the situation wherein he was involuntarily committed shortly before his 21st birthday. He describes the situation that led to his psychotic break, and the problems his parents had, who he is very close to and have had a large place in his treatment. He was incapable of informed consent and, after being tranquilized, due to his manic depression, he slept for 36 hours wherein neither his parents, physician, psychiatrist, or anybody else were contacted. Finally, his main moral dilemma is discussed. He highlights just what went wrong ethically based on his own memory of events, which he learned of during and after his involuntary committal. His main argument is: “what use is a psychotic patient’s undeniable rights to privacy, if he is incapable of helping himself?” He notes how these systems backfired throughout.
A “Catholic Layman of German Nationality and Citizenship”?: Carl Schmitt and the Religiosity of Life
Carl Schmitt positioned his constitutional theory in the context of a “political theology” and referred to himself repeatedly as a Catholic. Schmitt scholarship has long pursued this self-depiction without establishing a convincing “Catholic” doctrine, political position, or life praxis. This chapter provides an overview and critical interrogation of Schmitt’s self-description. By emphasizing his political and theological distance from his early background and from the political Catholicism of the interwar period, the chapter analyzes his systematic connection of theism, personalism, and decisionism, and considers Schmitt as a “religious” author and person. Schmitt’s apocalyptically dramatized perception and stylization of life as a permanent “state of exception” can be seen as a religious practice of testing contingency and sovereignty and self-assigning to “salvation.” Schmitt must thus be understood not as a part of majority Catholicism, but beyond it, among the religious movements in the history of modern secular faith.
Religion remained a significant factor in youth cultures that emerged during the twentieth century, and it continues to do so in the twenty-first century. In many places around the world, religious ideals held singular importance for young people’s understanding of themselves and their relationships with family members and friends. This is certainly the case in many Muslim societies. Understanding the role of religion in modern youth culture requires a deep engagement with young people’s personal experiences as well as the discourses that sought to circumscribe young people’s actions. One woman who reconciled tensions between religious ideals and emerging youth culture was Muna, who came of age in the Zanzibar Islands of East Africa during the late 1950s and 1960s. Muna reconciled these tensions by walking a fine line between adolescence and adulthood, femininity and masculinity, and respectability and mischievousness. She was a self-professed “tomboy” who resisted fulfilling the role of a proper Muslim “lady” as long as possible. If growing up meant abiding by religious codes that strictly controlled her behavior, then she would remain immature as long as possible. Young people like Muna, who tested the boundaries of religious codes governing their behavior, redefined religious “respectability” by asserting their own understandings of gender and sexuality. Young people at the forefront of these religious and cultural changes brought youth culture into the public sphere.
A 1980 Attempt at Reviving Ancient Irrigation Practices in the Pacific: Rationale, Failure, and Success
The author was project leader on an attempt to revive ancient irrigation practices on Aneityum Island (Vanuatu, S. Pacific) in 1980, based on his archaeological and ethnoarchaeological research on the island. Here he tries to reconstruct the context and his rationale for instigating such a project. While successful in a technical sense—abandoned irrigation systems were indeed brought back into use as planned—the project was set up in the absence of a defined market and marketing policy. Inevitably it soon collapsed when the taro that was produced remained unsold. But all was not lost after all and a seed was sown. Recent reports from participants in the original project suggest that the ancient techniques that were re-taught to a wide section of the Island’s community in 1980 have not been forgotten. These productive techniques are increasingly being reapplied on Aneityum in a time of rapid population growth.
Patrick McMakin and Jennifer Snodgrass
This chapter discusses the music theory and aural skills practiced daily by an important and influential segment of the public: the session musicians, engineers, songwriters, and producers in the recording studios and publishing houses of Nashville’s Music Row. Through interviews with leading engineers and studio musicians, the chapter reveals that particular kinds of music theoretical knowledge and aural skills are valued in these contexts. Efficiency and accuracy are prized during recording sessions, and there are high expectations for the fluid and immediate application of practical knowledge and skills to writing, recording, producing, and performing music. While some in these situations have had formal, academic training in music theory, that is not true of everyone. Some terminology from academic music theory is valuable, but there is also the need for additional terminology and systems in order to develop a common language for all participants. This chapter provides detailed information about an important aspect of this common language, the Nashville Number System, a musical shorthand developed within the studios of Music Row that now has currency among musicians around the world, bringing music theory to an ever-expanding public.
The leaders of the Oxford Movement were supported by a cast of friends and disciples who made important contributions to the ideas and initiatives associated with the Movement. Most of them, until recently, have been given little attention by historians. However, recent studies of these personalities and their active involvement in Tractarian ventures have offered a more complete and complex perspective of the range of the Movement’s programmes and activities. Among those activities, of particular relevance was the work of the London Tractarians in the field of education, where they played a vital role in the extraordinary development of the National Society for the Education of the Poor in the late 1830s and 1840s.
‘A comely gate to so rich and glorious a citie’: The Paratextual Architecture of the Rheims New Testament and the King James Bible
This chapter examines Miles Smith’s King James Bible preface, ‘The Translators to the Reader’, excavating the polemical, hermeneutic, and literary contexts that frame the preface and determine its rhetoric, style, and tone. Smith’s preface took shape in response to successive installments of the Catholic Douai-Rheims translation and the Sistine Vulgate of 1590, and drew on classic Protestant principles of argument and exegesis. At stake in these debates was the question of a textual and doctrinal return ad fontes, as both Reformed and Roman polemicists claimed the authority of the early church for their cause. In a detailed examination of the paratexts of the Rheims New Testament and the King James Bible, a compelling case study of the debates surrounding reform and interpretation is provided.
Susan I. Gatti
A bold, imaginative work, The Star Rover demonstrates Jack London’s inventive approach to the social-protest genre. London mixes in the typical problem-novel ingredients: gritty, realistic details; sympathetic, downtrodden victims; greedy capitalist villains and their muscle-headed henchmen; brisk, often violent, action; outraged invective; individual and collective resistance; and radical action for precipitating change. But, in the process of exposing conditions within American prisons, London deviates sharply and creatively in The Star Rover—not only from the conventions of protest writing but also from the type of writing that normally assured him of good sales and positive reviews.
This chapter explores the inaugural moment for the English Reformation, and for the rendering of the scriptures in English within a national church. In May 1530, Henry VIII began to suggest that it was his duty to cause the New Testament to be translated into English for his subjects, marking a hesitant and reluctant shift towards a possible translation of the Bible. The King’s suggestion was met with opposition from senior churchmen on the one hand, and frustration by English evangelicals on the other, and Henry subsequently imposed legislation that limited Bible reading. This chapter examines the complex issues involved in the protocols that governed how scripture was disseminated to the laity.
This chapter examines the issue of censorship in the British Broadcasting Corporation’s controversial decision to ban the final track, “A Day in the Life,” from the Beatles’ album, Sgt. Pepper’s Lonely Hearts Club Band in 1967 due to its oblique reference to drug use. More specifically, it analyzes the factors underlying the BBC ban within the context of the cultural environment in which company executives interpreted the recording. The chapter also discusses the BBC mission and its “Green Book,” the BBC Variety Programmes Policy Guide for Writers and Producers, which establishes Britain’s standards for taste in broadcasting.
Sheila T. Cavanagh
This chapter considers work created by the Synetic Theater Company in the Washington, DC, area. Since its inception in 2002, Synetic has produced an award-winning series of “physical theater.” Under the co-direction of Paata and Irina Tsikurishvili, both of whom were trained professionally in the Republic of Georgia, Synetic has created over a dozen “wordless” Shakespeare performances that have received numerous awards. They recently remounted their original production, Hamlet: The Rest Is Silence, although they have offered a wide range of successful, though surprisingly diverse, Shakespearean adaptations, including Antony and Cleopatra, The Tempest, King Lear, Twelfth Night, A Midsummer Night’s Dream, Macbeth, Taming of the Shrew, and Much Ado about Nothing. According to their website, “Synetic” reflects the company’s artistic goal of combining “synthesis,” or the “coming together of distinct elements to form a whole,” and “Kinetic: pertaining to or imparting motion, active, dynamic” to create Synetic: a dynamic synthesis of the arts.” They state their ambition to become “the premier American physical theater . . . fusing dynamic art forms—such as text, drama, movement, acrobatics, dance, and music.” Synetic labels itself as “physical theater,” not as dance, but dance theory provides a relevant framework through which to discuss their creations. This chapter discusses the theoretical and practical implications of presenting Shakespeare through movement and music rather than spoken language.
This chapter examines the musical practices and procedures of choruses such as the famous Gay Men’s Chorus within the LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) communities of the United States and Europe, and more specifically the discourse in and around them. It focuses on choral pedagogy as it is found in such ensembles and communities, drawing on the literature and first-hand accounts from singers, conductors and audience members, and examines what they uniquely value in their singing. Specific questions include: what is a good sound for an early MTF (male to female) transgender singer? Is it good to have female tenors in your ensemble, and if so, how many? How does the meaning of a song change for singers and audience when sung by a group of 250 gay men? How does that inflect the way in which that song should be taught to the singers? In short, is there a queer choral pedagogy?