Showing papers on "Parade published in 1982"
TL;DR: The history of Christmas in Philadelphia exemplifies the conflict within and between classes over behavior in public; confrontation over the form and enactment of the street festival was sharp and recurring, while celebrants' resistance found expression in the streets and the evolving forms of revelry as mentioned in this paper.
Abstract: FOR MOST OF THE NINETEENTH CENTURY RESPECTABLE PHILADELPHIANS condemned Christmas as a disgrace. Philadelphia's Christmas was then an essentially public celebration, unfolding in taverns, alleys, and squares, and although it grew out of European festive patterns and rural customs, the festival took its shape and meaning from the city's working class and the changing conditions of urban life. Riot and revelry, disguise and debauch gave police and property owners reason to fear the approach of the holiday. The history of Christmas in Philadelphia exemplifies the conflict within and between classes over behavior in public; confrontation over the form and enactment of the street festival was sharp and recurring. Middle-class disapproval and hostility were recorded in reportage, editorials, ordinances, and municipal policies, while celebrants' resistance found expression in the streets and the evolving forms of revelry. Press accounts of holiday activities provide a unique year-by-year record, not only of this conflict, but of working peoples' festive behavior. Moreover, the evolution of the street Christmas into an organized, sanctioned New Year's pageant the Philadelphia Mummers Parade -provides an example of the transformation of urban public culture in the nineteenth century. The history of Christmas and its transformation can be examined along several dimensions: its origins in older customs and urban social life, its enactment in relation to the identities of its creators, and the attempts to suppress it by its opponents. Critical to its history are ethnic and class relations in the city and the special position of urban youth. This street festival emerged in the early nineteenth century, with urban working-class culture in general, from the convergence of older ways of life with unprecedented conditions. Cultural diversity distinguished Philadelphia's working people: the mingling of Germans, former slaves, Carribbeans, "native" Americans, Catholic and Protestant Irish, and migrants
31 citations
TL;DR: Florentine marriage chests played an important part in the complex marriage rituals of the Quattrocento as mentioned in this paper, and they were purchased by the groom's family, sent to the bride to be filled, and then carried through the street in a wedding procession which marked the final step in the legitimization of marriage.
Abstract: Florentine marriage chests played an important part in the complex marriage rituals of the Quattrocento. They were purchased by the groom's family, sent to the bride to be filled, and then carried through the street in a wedding procession which marked the final step in the legitimization of marriage. This parade had the form of a triumphal procession. It provided an arena for symbolic enactment of hostility between the newly allied families and for the display of family power in the face of community envy or hostility. It resembled folk customs surviving in parts of Europe well into the nineteenth century. The martial and classical subjects of most chests reflect the form and content of the marriage ritual and the education of their purchasers. Florence restricted, to some extent, the actual display of wealth in the ceremony: the painted scenes partly compensate for such restrictions.
19 citations
TL;DR: In this paper, the audience of the carnaval parade is not he who makes it, but rather the class for whom it is set up, whose aesthetic values should the aesthetic values be? Should they be popular or middle class? Should the intellectual elite sit as official judge?
Abstract: Carnaval? It's the only day they have democracy in the country. Interview with Samba composer, cited in Leopoldi (1978) How to judge the carnaval parade? If the audience of the celebration is not he who makes it, but rather the class for whom it is set up, whose should the aesthetic values be? Should they be popular? Should they be middle class? Should they be those of the intellectual elite which sits as official judge? This is not clear. The day that it is, the judgments will lose the atmosphere full of polemic and distrust which predominates today. da Tavola, Artur 0 Globo 22-2-80:17
16 citations
TL;DR: The Tietjens' tetralogy of the First World War can be seen as an attempt to restore a lost sense of continuity by salvaging what was demonstrably valid from the halcyon days before Armageddon as discussed by the authors.
Abstract: Toward the end of his life, Ford Madox Ford grew fond of describing himself as "an old man mad about writing"; but years earlier, in a study of Henry James first published on New Year's Day, 1914, he had cast himself also in the role of "a Tory mad about historic continuity."2 Ford believed always that the novelist's proudest function was to serve as the historian of his own time, and his own greatest challenge in this regard was supplied by the immense and complex historical discontinuities of the First World War. His response to the war is set down most immediately and personally in quasi-autobiographical memoirs with reassuring titles like No Enemy (1929) and It Was the Nightingale (1933). But the four volumes of the "Tietjens saga" now known as Parade's End (Some Do Not ..., 1924; No More Parades, 1925; A Man Could Stand Up-, 1926; and The Last Post, 1928) stand as his most comprehensive and broadly social attempt to restore a lost sense of continuity by salvaging what was demonstrably valid from the halcyon days before Armageddon. Ford's critics have always hailed Parade's End and The Good Soldier (1915) as his two greatest achievements; but critical studies of the Tietjens volumes have usually been written in the spirit-if not under the shadow-of The Good Soldier, emphasizing the psychological and technical aspects of the tetralogy while treating its larger social implications only in terms of a suggestive allegory, parable, or "fairy tale."3
5 citations
TL;DR: In fact, American playwrights are fascinated by the 4th of July and their attempts to articulate its significance are among the most intriguing aspects of the contemporary theatre as mentioned in this paper, and it would be convenient to attribute this fascination to the influence of Eugene O'Neill whose Ah Wilderness! explored the dramatic possibilities of Independence Day fifty years ago, but it probably has more to do with the recent Bicentennial celebration.
Abstract: American playwrights are fascinated by the 4th of July and their attempts to articulate its significance are among the most intriguing aspects of the contemporary theatre. It would be convenient to attribute this fascination to the influence of Eugene O'Neill whose Ah Wilderness! explored the dramatic possibilities of Independence Day fifty years ago, but it probably has more to do with the recent Bicentennial celebration. Since the close of that euphoric national party, American dramatists have produced Israel Horovitz's Alfred Dies (1977), Lanford Wilson's 5th of July (1978) and Talley's Folly (1979), Michael Weller's Loose Ends (1979), and Tom Eyen's Independence Day (1979) all of which are set in part or fully on the 4th of July. To this list we could also add Archibald MacLeish's The Great American Fourth of July Parade (1975), John Guare's In Fireworks Lie Secret Codes (1980) and, with a bit of stretching, Ernest Thompson's On Golden Pond (1979) which draws from the same kind of mid-summer nostalgia that infuses Ah Wilderness!
2 citations
TL;DR: It is a matter of sad record that the author of the memoirs from which this account of Cardiff in the 1930s has been extracted died while his work was still in the press.
Abstract: It is a matter of sad record that the author of the memoirs from which this account of Cardiff in the 1930s has been extracted died while his work was still in the press. As “Files on parade” it is scheduled to appear in book form this year. By arrangement with Scarecrow Press, LR prints this extract in tribute to one of the most individual of its occasional contributors.
1 citations