Women's Fashion in the 1920s

THIS old photo shows four fashionable women wearing the new style of clothes popularized in the 1920s. All of the women are wearing high-collared, tight-fitting upper jackets. The two in the middle are in fashionably long skirts. The black-and-white picture does not show us the color of the clothes, but inferring from the colors in vogue at the time, the skirts must be black and the jackets either black or blue. There are variations in the style of their upper garments; some have buttons on the right or in the middle, others edged with lace on the collars and cuffs and some are decorated with embroidery. The hems are both rounded and square. All feature close-fitting cuffs in an eye-catching white or colored style. It is said that this     

The theoretical underpinnings of Chicago sociology in the 1920s and 30s

This paper looks at the work of the Chicago School in the 1920s and 1930s from the standpoint of the debate between positivism and its critics within the discipline of sociology. It is argued that, despite appearances to the contrary, Chicago sociology at this time is based on a rejection of the principles of positivism. It is an attempt to apply the principles of interpretative understanding to the practical problems of empirical research.     

A Township Girls' School in the 1920s

THIS old photograph, taken in the early 1920s, was passed down to me by my eldest sister, an educator. It is a group photo of students from Fanzhen Girls' Primary School, a church school in Xinan Township, Anxin County in Zhili (now Hebei) Province. In the school, which was located by my hometown of Baiyangdian, 43 students of varying ages and grades studied in a single classroom. The middle-aged     

Urban Ethnography of the 1920s Working Girl

The 1920s was the era of the city. The urban population of the USA for the first time exceeded the population of rural areas and the nascent institutions of city life were flourishing. This article discusses the urban ethnography of the era with a focus on the way women and work was conceptualized, especially how ‘the city’ figured in explanation. Three ethnographies are examined — Frances Donovan's The Woman Who Waits (1920) and The Saleslady (1929) and Paul Cressey's The Taxi‐Dance Hall (1932). Donovan and Cressey presented their empirical material to show that the so‐called working girl faced a multifaceted world of opportunity in employment, not of disadvantage, as commonly emphasized in today's ethnographic studies of women and work. The conclusion reflects on the past, present and future in terms of the city's explanatory prominence in various eras.     

Banishing the past: The German avant-garde and Nazi art

How do radical changes in cultural policy affect artistic reputations? Nazi policy to control memory—through the stigmatization of artists and the confiscation of their art—was less than fully successful for two main reasons: (1) Refugees and the German need for foreign exchange carried many pieces into the international market, where they escaped destruction from bombing raids; and (2) in post-war Germany a considerable effort was made not only to connect with a “broken” tradition but also to locate victims and to salvage as much of their work and reputations as possible. Allied efforts to banish Nazi-approved art from the collective memory have been far more successful. Many works that survive still rest in repositories not open to the public and, while work by a few Nazi favorites are still in demand, public commemoration remains politically controversial. Whether the reputation of an artist survives such sharp breaks in the political culture depends not only on the physical preservation of prior work but also on decisions as to who merits a place in the archives accessible to posterity.     

The theory of the avant-garde: an historical critique*

L'auteur critique l'incapacité de penser le processus de reconnaissance sociale de l'art dans les théories de l'avant-garde proposées par Bürger et Poggioli. Sans cette dimension, leurs théories reposent sur une tautologie. Tout en reconnaissant l'apport que constitue la sociologie du goût élaborée par Bourdieu, l'auteur signale la préoccupation préponderante qu'accorde cette analyse à la stabilité des structures du champ artistique, préoccupation qui la conduit a renoncer aux prétentions de comprendre les conditions historiques de la naissance et de l'évolution des avant-gardes au sein dcs sociétés occidentales. The author criticizes the theories of the avant-garde advanced by Bürger and Poggioli for their incapacity to theorize the process of social recognition of art. Without this dimension, their theories are based on a tautology. While recognising the positive contribution of Bourdieu's sociology of taste, the author notes that this approach has emphasized the stability of the structural determinations of the art world and seems to have sacrificed the ambition of previous theories of the avant-garde to understand the historical conditions of its appearance and evolution in Western societies.     

The Ukrainian reading public in the 1920s: real,implied, and ideal

The reading public was discussed in the Soviet Ukrainian press during the 1920s, at a time when the drive to eliminate illiteracy and implement Ukrainization was scoring increasing successes. Sociological studies of the “real” reader indicated strong preferences for pre-revolutionary authors and foreign writers in translation. Under pressure from Moscow, in the late 1920s Mykola Skrypnyk, the Commissar for Education, and the literary theorist Kost' Dovhan' changed the rhetoric advocating Ukrainization, stressing its proletarian content. They supported the concept of an “implied” working-class reader who read Ukrainian and was simultaneously committed to developing socialism and a “proletarian” culture. However, many sophisticated writers pitched their work to an “ideal” reader, whom they imagined as the end-product of Ukrainization – a culturally literate, urban, and critically thinking consumer. The three ways of conceptualizing the consumer clashed, as the Ukrainization policy went through two major shifts during the period of the first five-year plan (1928–33). Ideologists, educators, and writers adapted to these shifts by redefining the way they conceptualized the reader.     

DEPOSIT INSURANCE and BANK FAILURES: NEW EVIDENCE FROM THE 1920s

This paper examines the contribution of deposit insurance to bank failures during the 1920s. Using individual bank data from Kansas, where membership in the state insurance system was voluntary, I find that the balance sheets of insured banks reflected greater risk-taking, and probit model estimates indicate that insured banks were more likely to fail than non-insured banks. Insurance had an especially strong impact the closer a bank was to failure. Because regulation was comparatively strict in Kansas the findings suggest that deposit insurance had an even greater impact in other states and in the recent U.S. experience.     

Heteronomy in the arts field: state funding and British arts organizations

For Bourdieu, the field of cultural production is comprised of an autonomous and a heteronomous sector. A heteronomous sector is one that is interpenetrated by the commercial field. I discuss an arena that, until recently, was part of the relatively autonomous sector in the field of cultural production – the supported arts sector in the United Kingdom – and argue that it became more heteronomous, due to the penetration by the state. Heteronomy due to the commercial field is present but secondary to, and driven by, the actions of the state. Political parties’ attempts to diffuse and legitimate a particular economic ideology have led to state demands that arts institutions adopt neoliberal business practices in exchange for funding. Government giving to the arts, previously at arm's length, proved to be a Faustian bargain that demanded significant repayment in the form of lost autonomy. Coercive pressures from the state, enacted over time, show how the domination of one field over another can occur, even when the domination is resisted.     

Boris Eikhenbaum's Response to the Crisis of the Novel in the 1920s

Abstract

Focusing on the Russian literary scholar Boris Eikhenbaum (1886–1959), the present article considers the interrelationship of autobiographical, scholarly and fictional modes of writing. In 1925 Eikhenbaum wrote in a letter of his 'longing for acts, longing for biography'. This article views the scholar's acute sense of diminished agency in the context of the crisis of the novel in the 1920s and discusses how Eikhenbaum's own generic experimentation becomes a means of finding an answer to the question he posed to himself and his age of 'how to be a writer'. The discussion is primarily based on Eikhenbaum's autobiographical sketches in Moi vremennik (My Periodical, 1929) and his scholarly monograph, Lev Tolstoi. Piatidesiatye gody (Lev Tolstoi: The Fifties, 1928), and attention is drawn to the generic, rhetorical and narrative strategies used across these hybrid scholarly texts, which in turn become invested with a certain emotional and ethical charge. In the end, the article shows how, above all, Eikhenbaum's empathetic engagement with Tolstoi marks for him the restoration of 'biography' and the solution to the entwined epochal and personal crises of genre and authorship.     

A Cesspool of Intrigue: Les' Kurbas,Oleksandr Dovzhenko,and the Film Industry in 1920s Soviet Ukraine

Abstract

In the 1920s, theatre innovator Oleksandr “Les'” Kurbas (1887–1937) made three short films for the Vseukrains'ke Foto-Kino Upravlinnia [All-Ukrainian Photo-Cinema Administration] or VUFKU. His film career was short-lived, however. Lambasting the VUFKU as a “cesspool of intrigue,” Kurbas left film for good to focus exclusively on theatre. His films never gained wide release, and have since been lost. Kurbas’s brief foray into cinema could therefore be considered a non-moment, yet because Kurbas objected not to the medium itself, but to the institutions creating film, his encounter with the VUFKU illuminates the larger process of the formation of the Soviet film industry. Kurbas’s departure from film occurred simultaneously with the arrival of Oleksandr Dovzhenko (1894–1956), and their crossed paths show how the structure of the Soviet film industry shaped artistic possibilities. The institutional transformation of VUFKU into Ukrainfilm, the regional affiliate of the all-Union film monopoly Soiuzkino, signalled a cultural shift: from a film industry in Soviet Ukraine, to a Soviet Ukrainian film industry, one both part of wider Soviet cinema production and slotted specifically into a Ukrainian niche. Ultimately, this article argues that this process of consolidation and centralization in the film industry complicated the development of culture in the Soviet regions.