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Journal articles on the topic 'Pageant'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Dobson, Michael. "The Pageant of History: Nostalgia, the Tudors, and the Community Play." Sederi, no. 20 (2010): 5–25. http://dx.doi.org/10.34136/sederi.2010.1.

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This paper considers the persistence of the Renaissance pageant in modern and post-modern culture, both as a recurrent metaphor for history in general and as a feature of stage, cinematic and communal representations of early modern history in particular. After examining the status of public processions in Renaissance London as conscious revivals of the Roman triumph, indebted at the same time to aspects of the medieval mystery plays, the essay examines the English historical pageants of the Edwardian and inter-war years as themselves revivals of both Renaissance pageantry and aspects of the Shakespearean history play. It looks in particular at their emphasis on the Tudor monarchs and on the ethnic origins of Englishness, identifying the fading of the pageant as a genre in the post-war years with the collapse of certain ideas about English exceptionalism and historical continuity.

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2

Imarshan, Idham. "Konvergensi Simbolik Komunitas Pageant Lovers Indonesia di Instagram." Jurnal Komunikasi Global 10, no. 2 (December 31, 2021): 180–96. http://dx.doi.org/10.24815/jkg.v10i2.21688.

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Perkembangan dunia beauty pageant di Indonesia tidak terlepas dari peran pecinta kontes kecantikan yang dikenal dengan sebutan pageant lovers. Media sosial Instagram menjadi salah satu kanal bagi komunitas pageant lovers untuk berinteraksi dan berkomunikasi, melalui akun portal pageant. Penelitian ini bertujuan untuk mengetahui konvergensi simbolik komunitas pageant lovers Indonesia di Instagram berdasarkan teori konvergensi simbolik. Metode penelitian yang digunakan adalah observasi terhadap caption dan kolom komentar pada unggahan akun portal pageant, serta wawancara dengan tiga narasumber dari tiga akun portal pageant berbeda. Hasil penelitian menunjukkan bahwa konvergensi simbolik komunitas pageant lovers muncul secara spontan dari anggotanya, dan digunakan secara luas melalui Instagram. Beberapa bentuk konvergensi simbolik yang muncul adalah mbak brownies, turun gunung, dan negara topi bundar. Dari penelitian ini, dapat disimpulkan bahwa konvergensi simbolik yang terjadi dalam komunitas pageant lovers Indonesia di Instagram sesuai dengan teori konvergensi simbolik yang ada, yakni melalui proses tema fantasi, rantai fantasi, tipe fantasi, dan visi retoris. The development of beauty pageants in Indonesia cannot be separated from the role of beauty pageant contest lovers known as pageant lovers. Instagram has become one of the channels for the pageant lovers community to interact and communicate through pageant portal accounts. This study aims to understand the symbolic convergence of the Indonesian pageant lovers community on Instagram based on symbolic convergence theory. The research method used is the observation of captions and comments on pageant portal accounts and interviews with three sources from three different pageant portal accounts on Instagram. The results showed that the symbolic convergence of the pageant lovers community emerged spontaneously from its members and was widely used through Instagram. Several forms of symbolic convergence that occurred were “mbak brownies”, “turun gunung, and “negara topi bundar”. Based on the results, it can be concluded that the symbolic convergence that occurs in the Indonesian pageant lovers community on Instagram is following the existing symbolic convergence theory through the process of fantasy themes, fantasy chains, fantasy types, and rhetorical visions.

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3

Gilbert, Juliet. "‘BE GRACEFUL, PATIENT, EVER PRAYERFUL’: NEGOTIATING FEMININITY, RESPECT AND THE RELIGIOUS SELF IN A NIGERIAN BEAUTY PAGEANT." Africa 85, no. 3 (July 9, 2015): 501–20. http://dx.doi.org/10.1017/s0001972015000285.

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ABSTRACTBeauty pageants in Nigeria have become highly popular spectacles, the crowned winners venerated for their beauty, success and ability to better society through charity. This paper focuses on the Carnival Calabar Queen pageant, highlighting how pageants, at the nexus of gender and the nation, are sites of social reproduction by creating feminine ideals. A divinely inspired initiative of a fervently Pentecostal First Lady, the pageant crowns an ambassador for young women's rights. While the queen must have ‘grace and beauty’ and be ‘ever prayerful’, the discussion unravels emic conceptions of feminine beauty, religiosity and respectability. Yet, young women also use pageantry as a ‘platform’ for success, hoping to challenge the double bind of gender and generation they experience in Nigeria. The discussion pays particular attention to how young women, trying to overcome the insecurities of (urban) Nigerian life, make choices to negotiate individualism with community, and piety with patriarchy. Ethnographically, this paper situates beauty pageants in the region's past and present practices that mould feminine subjectivities. Contributing young women's experiences to recent literature on the temporalities of African youth, the paper's explicit focus on how new subjectivities form through action illuminates important themes regarding agency, resistance and notions of the religious self. In doing so, it furthers current analyses of Pentecostalism, seeking a more nuanced understanding of gender reconfiguration and demonstrating how religious subjects can be formed outside church institutions.

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4

HULME, TOM. "‘A nation of town criers’: civic publicity and historical pageantry in inter-war Britain." Urban History 44, no. 2 (February 24, 2016): 270–92. http://dx.doi.org/10.1017/s0963926816000262.

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ABSTRACTHistorical pageantry emerged in 1905 as the brainchild of the theatrical impresario Louis Napoleon Parker. Large casts of volunteers re-enacted successive scenes of local history, as crowds of thousands watched on, in large outdoor arenas. As the press put it, Britain had caught ‘pageant fever’. Towards the end of the 1920s, there was another outburst of historical pageantry. Yet, in contrast to the Edwardian period, when pageants took place in small towns, this revival was particularly vibrant in large industrial towns and cities. This article traces the popularity of urban pageantry to an inter-war ‘civic publicity’ movement. In doing so, it reassesses questions of local cultural decline; the role of local government; and the relationship of civic responsibility to popular theatre.

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5

Tourangeau, Rémi, and Marcel Fortin. "Le Phénomène des pageants au Québec." Theatre Research in Canada 7, no. 2 (January 1986): 215–38. http://dx.doi.org/10.3138/tric.7.2.215.

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Essai de définition et typologie des pageants québécois à la lumière de la tradition du pageant primitif et de l'histoire du pageant moderne en Grande Bretagne et aux Etats-Unis. Cet article tente de situer un phénomène à partir des caractéristiques de l'utilisation de l'histoire et de la composition de la dramaturgie. Il fournit notamment les principaux critères de l'authenticité et de l'originalité de ce genre de spectacles québécois.

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6

Rifaldo, Reynaldi, Riris Loisa, and Nigar Pandrianto. "Membangun Karir Personal Branding Pasca Ajang Kontes Pria International (Studi Terhadap Mister International Indonesia 2015)." Prologia 3, no. 2 (December 21, 2019): 433. http://dx.doi.org/10.24912/pr.v3i2.6383.

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This study discusses a pageant actor who developed a career after an international event competition. Many pageants do not realize that they have potential and end up blaming themselves. However, there are some pageant actors who have succeeded in developing their careers. The purpose of this study is to find out the concepts of personal branding in the career of a pageant actor after his return to defend Indonesia. The subject of this research was Mister Internasional Indonesia 2015 and the object of this study was personal branding. This study uses a qualitative research approach with phenomenological methods and descriptive analysis. This study concludes that personal branding of international pageant actors in this study, begins with self-mapping and setting career goals after international competition. Good self-mapping, clear goals, and self-introspection are believed to produce good quality in his career. The initial process in personal branding is based on the principle of persistence, which is unique in building good personal branding in career and life development. Penelitian ini membahas mengenai seorang pelaku pageant yang mengembangkan karir pasca kompetisi ajang internasional. Banyak pelaku pageant yang tidak menyadari bahwa dirinya mempunyai potensi dan berakhir dengan menyalahkan diri sendiri. Namun demikian, ada beberapa pelaku pageant yang berhasil mengembangkan karir mereka. Tujuan dari penelitian ini ialah untuk mengetahui konsep-konsep personal branding dalam karir seorang pelaku pageant setelah kepulangannya membela Indonesia. Subjek dari penelitian ini adalah Mister Internasional Indonesia 2015 dan objek penelitian ini adalah personal branding. Penelitian ini menggunakan pendekatan penelitian kualitatif dengan metode fenomenologi dan analisis secara deskriptif. Penelitian ini menyimpulkan bahwa personal branding pelaku pageant internasional dalam penelitian ini, diawali dengan pemetaan diri dan menetapkan tujuan karir pasca kompetisi ajang internasional. Pemetaan diri yang baik, tujuan yang jelas, dan intropeksi diri diyakini akan menghasilkan kualitas yang baik dalam perjalanan karirnya. Proses awal dalam personal branding ini didasari prinsip persistensi, yang menjadi keunikan dalam membangun personal branding yang baik di dalam pengembangan karir dan kehidupan.

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Farrales, May. "Repurposing beauty pageants: The colonial geographies of Filipina pageants in Canada." Environment and Planning D: Society and Space 37, no. 1 (October 10, 2018): 46–64. http://dx.doi.org/10.1177/0263775818796502.

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This paper considers how notions of beauty and performances at pageants transform as they move across different colonial times and spaces. It examines how gender, racial, and sexual subjectivities take shape among cisgender Filipina women who participate and organize community-based pageants on the traditional and ancestral territories of the Musqueam, Skxwú7mesh, and Tsleil-Waututh peoples (Vancouver, Canada). I analyze observations and interviews conducted with Filipina/os who organize and participate in community pageants. Based on this examination, I argue that spatial processes make apparent the shifting nature of gendered, racialized, and sexualized pageant performances. Pageant ideals change with migration as white heteropatriarchal logics, which are enmeshed in settler colonial projects of Canada, make grooves into the ways Filipino gendered sexualities come to be in Canada. More broadly, the paper speaks to the ways in which power works with and through space through the logics of race, gender, and sexuality. It outlines how racialized women’s feminine heterosexuality is made legible by liberal scripts designed for immigrants in the white settler colonial context of Canada. Thus, the paper sets in motion questions of how intersections of power are shaped by contemporary forms of colonialism.

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8

Sy, Michael P., Pauline Gail V. Martinez, and Rebecca Twinley. "The dark side of occupation within the context of modern-day beauty pageants." Work 69, no. 2 (June 24, 2021): 367–77. http://dx.doi.org/10.3233/wor-205055.

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BACKGROUND: The desire to be physically beautiful is inherent among human beings. In particular, some women who participate in modern-day beauty pageants tend to spend more time, energy, money and emotional resources to alter their natural body and looks to fit socially and culturally constructed standards of beauty. OBJECTIVE: The authors frame beauty pageants as the context where diverse occupations are at play with the purpose of becoming a ‘beauty queen’. This commentary aims to discuss the origins and culture of beauty pageants, the different perspectives on pageantry work, and essential and hidden occupations performed within the context of this form of performing art. APPROACH: Using the conceptual lens of the dark side of occupation, hidden occupations are characterised by the doings of pageant hopefuls that are less explored and acknowledged because they are perceived as health-compromising, risky, dishonest, illicit, and socially or personally undesirable. CONCLUSION: Furthermore, this commentary calls for the exploration of occupations beyond the conventional scope of its understanding and the acknowledgment of hidden occupations intertwined into people’s everyday doings specifically in the context of desiring to be ‘beautiful’.

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9

Azuah, Scholastica Wompakeah, Adu-Agyem J., and Eric Appau A. "An overview of Beauty Standards as culturally projected within Ghana’s Most Beautiful Pageant." Archives of Business Research 8, no. 3 (March 17, 2020): 108–15. http://dx.doi.org/10.14738/abr.83.7745.

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Beauty pageants such as Ghana’s Most Beautiful (GMB) normally select a lady to serve as a symbolic representation of their collective identity to a larger audience. The common tastes including fashion and lifestyle of members of a society collectively form and represent the tastes and lifestyle of its people; therefore the fashion and culture of a particular time symbolize the spirit of the times. Cultural principles refer to the cultural values that are categorized, organized and evaluated in each society. The principles governing standards in one region or country may not be same for other places. For example, the reasons for wearing of beads in one region may differ from that of other regions in Ghana. Standards are held to when they are documented and subsequently in line with cultural values. In a discussion with two members of the GMB organizing team during a national audition at TV3 premises in August 2017, they admitted that there was no comprehensive policy document spelling out beauty standards and guidelines of the pageant. The research adapts a sequential exploratory design with a population made up of all participants of GMB. The purpose of the study was to find out the beauty standards of GMB pageant as culturally projected within the beauty pageant. It was found out that the pageant occasionally deviates from its main focus of projecting Ghanaian cultural values. It should therefore regularly refer to its objectives while exhibiting all its activities.

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10

Bell, John. "Pageant." Ecumenica 7, no. 1-2 (January 1, 2014): 53–58. http://dx.doi.org/10.5325/ecumenica.7.1-2.0053.

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11

LEASE, BRYCE. "Intersections of Queer in Post-apartheid Cape Town." Theatre Research International 40, no. 1 (February 6, 2015): 70–74. http://dx.doi.org/10.1017/s0307883314000571.

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In 2013, Siona O'Connell, Nadia Davids and I were awarded an Arts and Humanities Research Council (UK) grant to support our Sequins, Self & Struggle: Performing and Archiving Sex, Place and Class in Pageant Competitions in Cape Town project, the aims of which are to research, document and disseminate archives of the Spring Queen and Miss Gay Western Cape (MGWC) pageants performed by disparate coloured communities in the Western Cape. Important to these performance events is the figure of the ‘moffie’, a queer male, often a transsexual, who has traditionally choreographed and designed the Spring Queen pageant, but who is forbidden from competing in it. Alternatively, MGWC is a platform for queers of colour to perform in a secure environment without exploitation. My individual work in this collaboration focuses on the MGWC pageant and the attendant methodological questions that have arisen in our attempt to forge bridges between Western queer theory and local articulations of gender identity and alternative sexualities, considering the current preoccupations in scholarship around (South) Africa that cut across geography, politics, economics and history. I will briefly outline the research questions that have arisen from my particular focus on the project aims: the relationship between post-apartheid South African national identity and gay rights, new postcolonial directions in queer theory and the sexual geographies of Cape Town that are bounded by race and economic privilege.

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12

Osberg, Richard H. "The Goldsmiths' “Chastell” of 1377." Theatre Survey 27, no. 1-2 (November 1986): 1–15. http://dx.doi.org/10.1017/s0040557400008772.

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Among the many devices of the pageant carpenter's art, including the Trees of Jesse, mountains “inuironed with red roses and white,” thrones of justice, dragons, and fonts, the castle had become, at least by the mid-fifteenth century, practically a cliché. Its origins as a pageant structure, however, have yet to be satisfactorily explained, and its iconography is still open to interpretation. Theatre historians have long been interested in the “castle” pageant that the Goldsmiths' guild organized for the coronation of Richard II because it is the first English civic pageant for which any detailed description survives. The nineteenth-century antiquary, William Herbert, believed there to be no record of the “castle” pageant in the Company's own books, however, and following this lead, Robert Withington, the great compiler of pageant history, so reports the matter.

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13

Irwin, Mark. "Human Pageant." Massachusetts Review 58, no. 4 (2017): 620. http://dx.doi.org/10.1353/mar.2017.0095.

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14

Wallis, Mick. "The Popular Front Pageant: Its Emergence and Decline." New Theatre Quarterly 11, no. 41 (February 1995): 17–32. http://dx.doi.org/10.1017/s0266464x00008848.

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In NTQ38 (May 1994) Mick Wallis explored some of the characteristics of the phenomenon of working-class political pageantry which reached its peak between the two world wars, looking in detail at one such pageant, Music and the People, mounted in London in April 1939, and at the tripartite five-day festival of which it formed a part. Here, he explores earlier and later forms of modern pageantry, from the bourgeois civic style (of which Louis Napoleon Parker was virtually inventor and remained the presiding genius) to the attempts of working-class organizations to create a people's form of pageantry, whether in the interests of Communist Party recruitment or – following in the footsteps of the Victorian monarchy and provincial city fathers – of creating its own, alternative memorializing traditions. Mick Wallis, who teaches drama at Loughborough University, has recently published on using Raymond Williams's work in the integration of practical and academic approaches to teaching. His one-man act, Sir John Feelgood and Marjorie, was an experiment in popular form for the sake of left-wing benefits.

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Drwal, Malgorzata. "The Garment Workers’ Union’s Pageant of Unity (1940) as manifestation of transnational working-class culture." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 75–87. http://dx.doi.org/10.17159/tl.v59i1.8842.

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In this article, I examine the Garment Workers’ Union’s theatre as a manifestation of transnational working-class culture in the 1940s. Analysing Pageant of Unity (1940), a play in which Afrikaans and English alternate to express the equality of Afrikaans- and English-speaking workers in the face of exploitation, I offer an attempt to escape the confines of a national literature as linked to a single language. I demonstrate how the political pageant—a genre typical of socialist propaganda and international trade unionism—was adapted to a South African context. This drama is, therefore, viewed as a product of cultural mobility between Europe, the United States, and South Africa. Assuming the ‘follow the actor’ approach of Bruno Latour’s Actor-Network Theory, I identify a network of interconnections between the nodes formed by human (drama practitioners and theoreticians, socialist organisers) and nonhuman actors (texts representing socialist drama conventions, in particular agitprop techniques). Tracing the inspirations and adaptations of conventions, I argue that Pageant of Unity most evidently realises the prescriptions outlined by the Russian drama theoretician Vsevolod Meyerhold whose approach influenced Guy Routh, one of the pageant’s creators. Thus, I focus on how this propaganda production utilises certain features of the Soviet avant-garde theatre, which testifies to the transnational character of South African working-class culture.

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Bergeron, David M. "Stuart Civic Pageants and Textual Performance." Renaissance Quarterly 51, no. 1 (1998): 163–83. http://dx.doi.org/10.2307/2901666.

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AbstractPlaywrights increasingly intend the pageant texts for readers; these texts become commemorative books that both capture the event and add to it. They assume an expository and narrative function that sets them apart from the typical dramatic text. By examining the extant printed texts of Jacobean and Caroline Lord Mayor's Shows, I argue that these publications do not obliterate theatrical performance or displace it so much as they complete it. Dramatists and printers come to recognize the lasting value of textual performance in civic pageants.

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Armstrong, Richard N., and Gerald S. Argetsinger. "The hill Cumorah pageant: Religious pageantry as suasive form." Text and Performance Quarterly 9, no. 2 (April 1989): 153–64. http://dx.doi.org/10.1080/10462938909365924.

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18

Smith, Andrea Lynn. "Settler Colonialism and the Revolutionary War." Public Historian 41, no. 4 (November 1, 2019): 7–35. http://dx.doi.org/10.1525/tph.2019.41.4.7.

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The centerpiece of New York State’s 150th anniversary of the Sullivan Expedition of 1779 was a pageant, the “Pageant of Decision.” Major General John Sullivan’s Revolutionary War expedition was designed to eliminate the threat posed by Iroquois allied with the British. It was a genocidal operation that involved the destruction of over forty Indian villages. This article explores the motivations and tactics of state officials as they endeavored to engage the public in this past in pageant form. The pageant was widely popular, and served the state in fixing the expedition as the end point in settler-Indian relations in New York, removing from view decades of expropriations of Indian land that occurred well after Sullivan’s troops left.

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MARCUS, KENNETH H. "Mexican Folk Music and Theater in Early Twentieth-Century Southern California: The Ramona Pageant and the Mexican Players." Journal of the Society for American Music 9, no. 1 (February 2015): 26–60. http://dx.doi.org/10.1017/s1752196314000534.

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AbstractIn an environment of racial tension and conflict in Southern California during the first half of the twentieth century, the Ramona Pageant and the plays by the Padua Hills Mexican Players offered Mexican American performers a vital role in perpetuating cultural memory through music and dance. The Ramona Pageant, which began in Hemet, California in 1923 and is still in operation, remains one of the longest-running pageants, or historical dramas, in U.S. history. Similarly, the Mexican Players were founded during the Great Depression in 1931 in Claremont, California and performed continuously for more than forty years. This article argues that Hispanic musicians achieved a degree of cultural agency in these plays through the performance of Mexican folk music, especially canciones (love songs) and corridos (narrative ballads), which were essential elements in the “soundscape” of the Southwest. Although Anglos created and directed the plays, they did not create or perform the music. In spite of the plays’ largely romanticized portrayals of California's Spanish and Mexican past, they provided some of the few prominent forums in Southern California for Mexican American musicians and dancers during the first half of the twentieth century.

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Phillips, Anna. "A Useful Pageant." American Scientist 100, no. 3 (2012): 267. http://dx.doi.org/10.1511/2012.96.267.

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Balogun, Oluwakemi M. "Beauty and the Bikini: Embodied Respectability in Nigerian Beauty Pageants." African Studies Review 62, no. 2 (May 29, 2019): 80–102. http://dx.doi.org/10.1017/asr.2018.125.

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Abstract:In the world of Nigerian beauty pageants, the bikini remains a fraught embodied symbol and aesthetic practice. Pageant affiliates, critics, and fans alike strongly debate the question of whether to include bikinis in these events. This article draws primarily from nearly a year of ethnographic observations of two Nigerian national beauty contests in 2009-2010 to show how various stakeholders used personal, domestic, and international frames about women’s bodies, and the bikini in particular, to bolster respectability. Through embodied respectability, women’s figurative and literal bodies were used to strategically situate propriety, social acceptance, and reputability for the self and the nation.

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Tazar, Nurhidayati, and Ichwan Suyudi. "A Morphological Analysis Focusing on Word Formation Processes of Indonesian Pageant Lover’s Register in Instagram Comment." International Journal of Linguistics, Literature and Translation 4, no. 12 (December 25, 2021): 158–63. http://dx.doi.org/10.32996/ijllt.2021.4.12.18.

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Pageant lovers (PLs) in Indonesia use special registers in communicating with each other in their group when discussing pageants on their Instagram accounts. This study aims to find out what types of word-formation processes are found in the register of pageant lovers (PLs) in Indonesia and explain the meaning of that register and how it is translated into English. The data in this study are all words, phrases and sentences, as well as PLs conversational dialogues taken from captions and comments on several PLs Instagram accounts in Indonesia. The research method used in this research is the descriptive qualitative method. The data is analyzed through linguistic characteristics to examine the types of word-formation processes and translate them into English from the data collected. The results of the study show that the PL register in Indonesia has types of word formation, namely (1) Blending: boti, natdir, gercep, gaje, gece etc. (2) Clipping: unfoll-unfollow, parno-paranoid, etc. (3) Acronym: OMG, etc. (4) Coinage: deseu, deswita, alemong, keron, gorjes, alemong, pewong, mekiwati, kenti, buleleng, centong, bensiyong, udin, adindut, luk laik, etc. (5) reduplication: merong-merong, lobi-lobi, jor-joran, henpik-henpik, kaleng-kaleng etc. (6) Abbreviation: PHP, IDL, MU, MS, MGI, MW etc. (7) Compounding: swimsuit, catwalk, etc.

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Levey, Hilary. "Here She is … and There she Goes?" Contexts 6, no. 3 (August 2007): 70–72. http://dx.doi.org/10.1525/ctx.2007.6.3.70.

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Little Miss Sunshine (20th Century Fox, 2006) Pageant School: Becoming Miss America (CMT and PB&J Television, original airdate January 26, 2007) 2006 and 2007 Miss America Pageant (CMT, original air-dates January 21, 2006, and January 29, 2007)

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Mihăilă, Vlad. "“Miss Romania” in the USA (1929): The interplay between beauty and politics." Analele Universitatii din Bucuresti - Stiinte Politice 23, no. 1 (2021): 59–85. http://dx.doi.org/10.54885/mepx3457.

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This article focuses on the links between political discourse and feminine beauty in one of Romania’s first national beauty pageants. By selecting its “Miss Romania” in March 1929 and sending her to compete in the international “Miss Universe” pageant in Galveston, Texas, the popular magazine Realitatea Ilustrată sought to affirm its role in creating a visible symbol of the Romanian nation. “Miss Romania” was promoted and legitimized as an incarnation of national unity capable of assuring internal cohesion and external renown. In this way, the idealization of the national beauty winner and her transformation into a symbol of collective virtue translated political and propagandistic ambitions in terms of feminine identity.

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25

Love, Lauren. "Performing Jewish Nationhood: The Romance of a People at the 1933 Chicago World's Fair." TDR/The Drama Review 55, no. 3 (September 2011): 57–67. http://dx.doi.org/10.1162/dram_a_00095.

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In July 1933, thousands gathered during Chicago's World's Fair to witness the spectacular Zionist pageant, The Romance of a People. Boldly, The Romance figured Jewish redemption as central to humanity's upward climb. Thus, Jews were presented in the pageant as civilizing agents, bringing Western progress to empty Eastern space.

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Horrox, Rosemary. "Review: The Beauchamp Pageant." English Historical Review 120, no. 485 (February 1, 2005): 202. http://dx.doi.org/10.1093/ehr/cei058.

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Senn, Frank C. "Advent Pageant for Children." Liturgy 18, no. 1 (January 2003): 16–24. http://dx.doi.org/10.1080/0458-060291904769.

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Washburn, A. "The Communist Dracula Pageant." Theater 39, no. 1 (January 1, 2009): 45–81. http://dx.doi.org/10.1215/01610775-2008-013.

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29

Stark, Jessica Q. "Savage Pageant: A Genealogy." Pleiades: Literature in Context 40, no. 2 (2020): 219–20. http://dx.doi.org/10.1353/plc.2020.0173.

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30

Edwards, A. S. G. "Middle English Pageant ‘picture’?" Notes and Queries 39, no. 1 (March 1, 1992): 25–26. http://dx.doi.org/10.1093/nq/39.1.25.

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31

Saultz, John. "An Insubstantial Pageant Faded." Family Medicine 54, no. 4 (April 4, 2022): 257–58. http://dx.doi.org/10.22454/fammed.2022.625147.

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Kharel, Megh Prasad. "Popular Culture of Miss Beauty Pageant in Nepali Context." Interdisciplinary Journal of Management and Social Sciences 2, no. 1 (April 29, 2021): 108–15. http://dx.doi.org/10.3126/ijmss.v2i1.36749.

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This study examines the Miss Beauty Pageant in the light of popular culture in Nepali context. In the first section, the research attempts to explore different causes of having popularity of Miss Pageant such as rapidly increasing of electronic media, emerging liberal consumer society, glamour politics of physical beauty of the female and gender identity. In the second section, the research discusses two phases of beauty pageant: national-wise and heterogeneous identities based wise (i.e. regional, University, ethnic, caste, professional and institutional wise). In the third section, the article also examines the causes of contradictory opinion from Marxist and feminist force on the contest of the Miss pageant as they underscore the political-cultural side of imperialism, gender discrimination and commercialization of female body, sex and beauty. Despite the opponent voice, the popularity of various beauty contests are increasing day by day. However, specific feature of the pop culture is that it does not distinguish the right and wrong in the overflow of the consumption of the cultural practices. Consequently, opponent circles like Marxists and feminists have almost failed to stop the beauty contest in the consumer mode of Nepali society in the present context.

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33

Wallis, Mick. "Pageantry and the Popular Front: Ideological Production in the 'Thirties." New Theatre Quarterly 10, no. 38 (May 1994): 132–56. http://dx.doi.org/10.1017/s0266464x00000300.

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The British working-class pageants of the nineteen-thirties were curiously cross-bred between, on the one hand, the resolutely bourgeois civic pageants which had become popular around the turn of the century and remained so still, and, on the other, the new Soviet style of mass-declamations with agit-prop intent. Often ignored even by left-wing theatre historians, these pageants drew on other influences varying from endemic communal forms of creation such as choirs and processions to the work of contemporary, left-leaning ‘high art’ poets and musicians. Here, Mick Wallis looks in detail at one such pageant, Music and the People, mounted in London in April 1939, and at the tripartite five-day festival of which it formed a part. He goes on to explore the politics, aesthetics, and logistics of this long-neglected form of popular performance. Mick Wallis, who teaches drama at Loughborough University, has recently published on using Raymond Williams's work in the integration of practical and academic approaches to teaching. His one-man act, Sir John Feelgood and Marjorie, was an experiment in popular form for the sake of left-wing benefits.

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Cruzeiro, Cristina Pratas, Anne Douglas, Cláudia Madeira, and Helena Elias. "An Interview with Gregory Sholette about the Precarious Workers Pageant Project." Arts 11, no. 1 (January 17, 2022): 18. http://dx.doi.org/10.3390/arts11010018.

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Smith, Taylor Renee. "“There She Is”: Hispanic Identity, Academic Success, and Class Mobility in a Collegiate Beauty Pageant." Journal of Hispanic Higher Education 17, no. 1 (February 26, 2016): 41–60. http://dx.doi.org/10.1177/1538192716635704.

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Widely accepted definitions of academic success are neither adequate nor meaningful for many ethnic minority students. Using ethnographic research with high-achieving Latina college students in Oklahoma, student experiences in a collegiate Hispanic beauty pageant were analyzed. These successful Latina students negotiated academic achievement through pageant performances of gender and ethnicity. Student understandings of “making it,” shaped by familial approval, adherence to gender norms, and ethnic identity, suggest that a rethinking of “academic success” is necessary.

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Lorini, Alessandra. "The Pageant of Father Kino." Southern California Quarterly 99, no. 4 (2017): 395–424. http://dx.doi.org/10.1525/scq.2017.99.4.395.

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A review of the changing representation of the historical figure Padre Eusebio Kino over the course of the twentieth and into the twenty-first centuries illustrates the way public memory is reshaped in the search for a usable past. The study calls for considering this tendency of public memory in constructing more complex transnational histories.

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Bergeron, David M. "Charles I's Edinburgh pageant (1633)." Renaissance Studies 6, no. 2 (June 1992): 173–84. http://dx.doi.org/10.1111/j.1477-4658.1992.tb00261.x.

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Levey, Hilary. "Pageant Princesses and Math Whizzes." Childhood 16, no. 2 (May 2009): 195–212. http://dx.doi.org/10.1177/0907568209104401.

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Falassi, Alessandro. "Palio Pageant: Siena's Everlasting Republic." Drama Review: TDR 29, no. 3 (1985): 82. http://dx.doi.org/10.2307/1145655.

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Bergeron, David M. "Charles I's Edinburgh Pageant (1633)." Renaissance Studies 6, no. 2 (June 1992): 173–84. http://dx.doi.org/10.1111/1477-4658.t01-1-00115.

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Sierra, Mariana. "Pageant; Baby Blue; Bloodline (I)." Feminist Studies 40, no. 1 (2014): 98–100. http://dx.doi.org/10.1353/fem.2014.0005.

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Fones-Wolf, Elizabeth, and Ken Fones-Wolf. "Cold War Americanism: Business, Pageantry, and Antiunionism in Weirton, West Virginia." Business History Review 77, no. 1 (2003): 61–91. http://dx.doi.org/10.2307/30041101.

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After World War II, Weirton Steel remained a critical barrier to the unionization of the steel industry. Weirton kept unions at bay through a plan of high wages, welfare, and company unionism, which it combined with an authoritarian style of management. Forbidden from using intimidation by the federal courts, Weirton substituted a celebration of Americanism that associated freedom with limited government and an absence of unionism. Foreseeing a union drive in 1950, Weirton staged a pageant to dramatize its version of patriotism. The steelworkers countered with a competing version that stressed trade unionism as a way to give workers a democratic voice. This article reveals how postwar patriotic pageantry was rooted in the struggle between labor and capital.

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Orr, Stanley. "Taft’s Chair, Serra Cross, and Other Props." Pacific Coast Philology 56, no. 1 (April 1, 2021): 99–119. http://dx.doi.org/10.5325/pacicoasphil.56.1.0099.

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As Carey McWilliams notes in Southern California Country: An Island on the Land (1946), theatricality has persisted as a central tactic of empire in the U.S. borderlands—from the rituals Spanish missionaries used to attract Native Americans to the historical dramas of Anglo-American boosters. The early decades of the twentieth century saw a number of plays that, in the words of Chelsea K. Vaughn, “romanticized the Spanish and Mexican periods of California history before assigning them comfortably to the past.” These include John S. McGroarty’s The Mission Play (1912) and Garnet Holme’s adaptation of Ramona (1923) as well as his original drama The Mission Pageant of San Juan Capistrano (1924). Such dramas were anticipated by ceremonial pageants that took place at Mission Revival hotels throughout the early twentieth century—to wit, Governor Theodore Roosevelt’s visit to the 1899 Rough Riders Reunion at the Castañeda Hotel in Las Vegas, New Mexico, and President William Howard Taft’s 1909 Columbus Day sojourn at the Glenwood Mission Inn, in Riverside, California. Each of these “hospitality pageants” casts the visiting dignitary as a typological protagonist—the Anglo-American “antitype” of the Spanish “type” embodied in conquistadores and/or missionaries.

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Prina, Federico. "«Amnesia in Fancy Dress»: il pageant in Between The Acts di Virginia Woolf e in Wigs on the Green di Nancy Mitford." ACME 74, no. 1 (November 26, 2021): 181–200. http://dx.doi.org/10.54103/2282-0035/16797.

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Il saggio si pone come obiettivo l’analisi della rievocazione storica, il pageant, e del suo significato all’interno di due romanzi inglesi dell’interwar period: Between the Acts (1941) di Virginia Woolf e Wigs on the Green (1935) di Nancy Mitford. Il pageant ha rivestito un ruolo di primo piano nell’Inghilterra degli anni compresi fra le due guerre, assurgendo a simbolo della tradizione inglese e della Englishness,e trovando, inoltre, un forte riscontro nella letteratura di quel periodo. In Between the Acts, la rievocazione storica messa in scena da Miss La Trobe nel cuore della campagna inglese, sul prato di Pointz Hall, è il riflesso del caos ineluttabile che contraddistingue la condizione umana nel mondo moderno e del profondo senso di solitudine e di isolamento della società inglese sull’orlo della Seconda Guerra Mondiale. Mitford utilizza invece il pageant come strumento per smascherare l’inconsistente ideologia nazionalista del fascismo inglese di quegli anni, considerata dalla scrittrice solo vuota retorica priva di uno scopo concreto, e rappresentata, in Wigs on the Green, dal personaggio di Eugenia Malmains, la più ricca ereditiera inglese – versione romanzesca della sorella della scrittrice, la fascista Unity Valkyrie – fervente sostenitrice di Captain Jack e delle Union Jackshirts, partito fascista immaginario basato sulla British Union of Fascists di Sir Oswald Mosley. Partendo da una breve introduzione del pageant e del ruolo che riveste nella letteratura inglese degli anni ’30, si passa poi alla sua contestualizzazione all’interno delle opere di queste due scrittrici, focalizzandosi, in particolare, sul significato che assume in relazione al quadro storico-politico, culturale e sociale.

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West, Delno C. "Medieval Ideas of Apocalyptic Mission and the Early Franciscans in Mexico." Americas 45, no. 3 (January 1989): 293–313. http://dx.doi.org/10.2307/1007224.

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On June 18, 1539, at Tlaxcala, New Spain, Indians recently converted to Christianity performed a pageant written and directed by the Franciscan missionaries. The play titled “The Conquest of Jerusalem” featured the final siege of the Holy City led by combined armies from Spain and New Spain aided by forces from France and Hungary. The drama unfolds with the army from New Spain, protected by angels and St. Hippolytus, showing the most valor. Huddled to one side of the battlefield are the Pope and his court offering prayers for a Christian victory. After several attacks, each of which ends in a miracle saving the Christian armies, the Moslems capitulate and convert to the true faith. In the final scene, the Pope causes all the new converts to be baptized after which the Sultan and his soldiers bow before Charles V and proclaim him to be “God's Captain” for all the earth. The pageant commemorated the Truce of Nice concluded on June 17, 1538, between Charles V and Francis I at the urging and coordination of Pope Paul III who wanted to free Charles V to attack the Turks and capture Jerusalem. Celebrating the Truce of Nice was a natural choice for the friars because it reflected commonly held theories of apocalypticism. The pageant exhibited salient themes of the apocalyptic conversion of non-believers and infidels, the recapture of Jerusalem, and the recognition of a “last world ruler.” Toribio de Benavente (Motolinía), who recorded the pageant, prefaced the drama by praying that this prophesied victory would soon happen and he assigned an unprecedented role to the peoples of the New World in the victory.

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Elledge, Annie M., and Caroline Faria. "“I want to … let my country shine”: Nationalism, development, and the geographies of beauty." Environment and Planning D: Society and Space 38, no. 5 (March 19, 2020): 829–48. http://dx.doi.org/10.1177/0263775820911953.

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There is little geographic work on beauty. Yet beauty offers important insights into spatial, geopolitical, and geoeconomic processes. In this article, we attend to the powerful role of beauty labor, norms, and practices in national development. We center the Miss Tourism Uganda beauty pageant, held annually since 2011, and the centerpiece of tourism-based development in Uganda. Designed to attract foreign visitors and investors and to promote a sense of nationalist pride among Ugandans, the pageant-as-development strategy is increasingly mirrored across the neoliberalized Global South. This approach relies on young women’s beauty labor: the work of self-improvement via intimate beauty technologies, and the intellectual work of learning and showcasing a beautiful, idealized, national imaginary. This labor is physically, emotionally, and financially demanding, and is largely unremunerated. Yet, it is lucratively exploited to promote local and international corporate brands, generate tourism revenue, and attract foreign investment. Despite this, pageant participants and organizers find creative and collaborative strategies to navigate these demands. As part of our efforts to fashion a “geographies of beauty”, this article argues that the power of beauty, and specifically the labor of beauty, is central to understanding contemporary tourism-centered development efforts.

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47

GJW. "Masque of the Twelve Nations—Stuttgart, 1616." Theatre Survey 37, no. 1 (May 1996): 119. http://dx.doi.org/10.1017/s0040557400001459.

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This issue's cover illustration was selected from among the splendid engravings in the Folger Shakespeare Library's recent exhibition The Festive Renaissance. The show featured thirty-nine magnificent books printed between 1549 and 1768 that record some of the extravagant pageantry in which royal power celebrated itself on such occasions as coronations, weddings, births, baptisms, royal entries, processions, tournaments, state visits, and funerals. These pageant books and others, some so large and weighty that they defied efforts to exhibit them, are part of a bibliographic collection given to the Folger Library by Mrs. H. Dunscombe Colt, whom the exhibition honored. Armida Colt assembled the collection in collaboration with her late husband. The Director of the Folger Library, Werner Gundersheimer, described the Colt collection as one of the most important benefactions in the library's history.

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Brook, Dennis. "A Mystery Pageant for the Millennium." Cahiers Élisabéthains: A Journal of English Renaissance Studies 60, no. 1 (October 2001): 87–100. http://dx.doi.org/10.7227/ce.60.1.8.

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Ryan, Deborah Sugg. "Living in a “Half-Baked Pageant”." Home Cultures 8, no. 3 (November 2011): 217–44. http://dx.doi.org/10.2752/175174211x13099693358717.

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50

Bergeron, David M. "King James's Civic Pageant and Parliamentary Speech in March 1604." Albion 34, no. 2 (2002): 213–31. http://dx.doi.org/10.2307/4053700.

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Near the end of a speech to his first Parliament (19 March 1604), James makes a rhetorical move, disingenuous and shrewd. He offers an excuse “in case you have not found such Eloquence in my Speech, as peradventure you might have looked for at my hands. I might, if I list, alledge the great weight of my Affaires and my continuall businesse and distraction, that I could never have leasure to thinke upon what I was to speake, before I came to the place where I was to speak.” Because James has had almost a year since being named King of England to contemplate his maiden speech to Parliament, we may take his “excuse” as special pleading. Clearly his strategy nicely reinforces the obvious eloquence of the speech; indeed, hearers may marvel all the more at the quality of the speech, given James's apparent lack of leisure to prepare it. James cannot, however, offer a compelling case for lack of time to write this important, initial speech to Parliament; in fact, his own care as a writer argues against this. But if, for the sake of argument, we take him seriously, where might James easily and readily have gotten the major ideas and themes of the speech (beyond his own obvious writings)? I answer that he could have found them in the magnificent royal entry pageant in his honor that occurred only four days (15 March) before the speech to Parliament. Most of the ideas that inform James's speech find some kind of dramatic representation in the pageant. Indeed, I will argue that the pageant and Parliament speech form a continuous event, designed to honor, instruct, and celebrate the king. These two events constitute the most important public events of James's early English reign and therefore make an exceptional claim for historical significance. In order to reach Westminster and Parliament, James must first figuratively and literally pass through London's civic pageant.

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