THE DEAD STILL AMONG US: VICTORIAN SECULAR RELICS, HAIR JEWELRY, AND DEATH CULTURE

2010 ◽  
Vol 39 (1) ◽  
pp. 127-142 ◽  
Author(s):  
Deborah Lutz
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Walter Benjamin ◽  
The Other ◽  
Shared Experience ◽  
The Public ◽  
Look Back ◽  
The Dead ◽  
Death Culture ◽  
The Moment

By the time the nineteenth centuryreached its close, it was already possible to look back at Victorian death culture with nostalgia. With the rise of secularism, the slide toward what Diana Fuss has called the death of death had begun. No longer was it common practice to hold onto the remains of the dead. Rarely would a lock of hair be kept by, to be worn as jewelry, nor did one dwell on the deathbed scene, linger upon the lips of the dying to mark and revere those last words, record the minutiae of slipping away in memorials, diaries, and letters. Rooms of houses were increasingly less likely to hold remains; no one had died in the beds in which the living slept. Walter Benjamin, who wrote often about what was lost in the nineteenth century, sees the turning away from death as going hand in hand with the disappearance of the art of storytelling. Writing in the early 1930s, he called his contemporaries “dry dwellers of eternity” because “today people live in rooms that have never been touched by death” (Illuminations94). Avoiding the sight of the dying, Benjamin argues, one misses the moment when life becomes narrative, when the meaning of life is completed and illuminated in its ending. He privileges the shared moment of death, when relatives, and even the public, gather around the dying to glean final words of wisdom, to know perhaps, in the end, the whole story. Historian of death Philippe Ariès describes a Christian account of the final ordeal of the death bed, when in the moment of death the salvation or damnation of the dying is determined, thus changing or freezing, for good, the meaning of the whole life. Scholars of nineteenth- and twentieth-century death culture tend, on the whole, to agree that towards the end of the century, a process that began earlier reached a completion – that the death of the other not only became less of a shared experience among a community, but last things such as final words and remains were increasingly to be pushed to the back of consciousness and hence to the lumber room of meaning and importance.

scholarly journals New Zealand’s ‘Critics of Empire’: Domestic Opposition to New Zealand’s Pacific Empire, 1883-1948

2021 ◽  
Author(s):  
◽  
Nicholas Hoare
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
New Zealand ◽  
Social Context ◽  
The Other ◽  
Colonial History ◽  
The Public ◽  
Colonial Policy ◽  
The Pacific ◽  
History Of

<p>The recent resurgence of interest in the ‘other side’ of New Zealand’s colonial history has reaffirmed the need to view the nation’s history in its Pacific context. This historiographical turn has involved taking seriously the fact that as well as being a colony of Britain, New Zealand was an empire-state and metropole in its own right, possessing a tropical, Oceanic empire. What has yet to have been attempted however is a history of the ‘other side’ of the imperial debate. Thus far the historiography has been weighted towards New Zealand’s imperial and colonial agents. By mapping metropolitan critiques of New Zealand’s imperialism and colonialism in the Pacific (1883-1948), this thesis seeks to rebalance the historiographical ledger. This research adds to our understanding of New Zealand’s involvement in the colonial Pacific by demonstrating that anticolonial struggles were not only confined to the colonies, they were also fought on the metropolitan front by colonial critics at once sympathetic to the claims of the colonised populations, and scathing of their own Government’s colonial policy. These critics were, by virtue of their status as white, metropolitan citizens, afforded greater rights and freedoms than indigenous colonial subjects, and so were able to challenge colonial policy in the public domain. At the same time this thesis demonstrates how colonial criticism reflected national anxieties. The grounds for criticism generally depended on the wider social context. In the nineteenth-century in particular, critiques often contained concerns that New Zealand’s Pacific imperialism would disrupt the sanctity of ‘White New Zealand’, however as the twentieth-century wore on criticism bore the imprint of anti-racism and increasingly supported indigenous claims for self-government. By examining a seventy year period of change, this thesis shows that at every stage of the ‘imperial process’, New Zealand’s imperialism in the Pacific was a subject open to persistent public debate.</p>

scholarly journals New Zealand’s ‘Critics of Empire’: Domestic Opposition to New Zealand’s Pacific Empire, 1883-1948

2021 ◽  
Author(s):  
◽  
Nicholas Hoare
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
New Zealand ◽  
Social Context ◽  
The Other ◽  
Colonial History ◽  
The Public ◽  
Colonial Policy ◽  
The Pacific ◽  
History Of

<p>The recent resurgence of interest in the ‘other side’ of New Zealand’s colonial history has reaffirmed the need to view the nation’s history in its Pacific context. This historiographical turn has involved taking seriously the fact that as well as being a colony of Britain, New Zealand was an empire-state and metropole in its own right, possessing a tropical, Oceanic empire. What has yet to have been attempted however is a history of the ‘other side’ of the imperial debate. Thus far the historiography has been weighted towards New Zealand’s imperial and colonial agents. By mapping metropolitan critiques of New Zealand’s imperialism and colonialism in the Pacific (1883-1948), this thesis seeks to rebalance the historiographical ledger. This research adds to our understanding of New Zealand’s involvement in the colonial Pacific by demonstrating that anticolonial struggles were not only confined to the colonies, they were also fought on the metropolitan front by colonial critics at once sympathetic to the claims of the colonised populations, and scathing of their own Government’s colonial policy. These critics were, by virtue of their status as white, metropolitan citizens, afforded greater rights and freedoms than indigenous colonial subjects, and so were able to challenge colonial policy in the public domain. At the same time this thesis demonstrates how colonial criticism reflected national anxieties. The grounds for criticism generally depended on the wider social context. In the nineteenth-century in particular, critiques often contained concerns that New Zealand’s Pacific imperialism would disrupt the sanctity of ‘White New Zealand’, however as the twentieth-century wore on criticism bore the imprint of anti-racism and increasingly supported indigenous claims for self-government. By examining a seventy year period of change, this thesis shows that at every stage of the ‘imperial process’, New Zealand’s imperialism in the Pacific was a subject open to persistent public debate.</p>

State of Fashion: Searching for the New Luxury

APRIA Journal ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 11-16
Author(s):  
José Teunissen
Keyword(s):  
Twentieth Century ◽  
Daily Life ◽  
Life Cycles ◽  
The Other ◽  
Century Model ◽  
Cocktail Party ◽  
The Public ◽  
Other Hand ◽  
The One

In the last few years, it has often been said that the current fashion system is outdated, still operating by a twentieth-century model that celebrates the individualism of the 'star designer'. In I- D, Sarah Mower recently stated that for the last twenty years, fashion has been at a cocktail party and has completely lost any connection with the public and daily life. On the one hand, designers and big brands experience the enormous pressure to produce new collections at an ever higher pace, leaving less room for reflection, contemplation, and innovation. On the other hand, there is the continuous race to produce at even lower costs and implement more rapid life cycles, resulting in disastrous consequences for society and the environment.

Jainism in Danger? Temple entry and the rhetoric of religion and reform in post-colonial India

2020 ◽  
pp. 1-37
Author(s):  
MANISHA SETHI
Keyword(s):  
Twentieth Century ◽  
The State ◽  
The Other ◽  
Post Colonial ◽  
Colonial India ◽  
The Public ◽  
Public Debates ◽  
Definition Of ◽  
Open The Doors ◽  
The Relationship

Abstract A bitter debate broke out in the Digambar Jain community in the middle of the twentieth century following the passage of the Bombay Harijan Temple Entry Act in 1947, which continued until well after the promulgation of the Untouchability (Offences) Act 1955. These laws included Jains in the definition of ‘Hindu’, and thus threw open the doors of Jain temples to formerly Untouchable castes. In the eyes of its Jain opponents, this was a frontal and terrible assault on the integrity and sanctity of the Jain dharma. Those who called themselves reformists, on the other hand, insisted on the closeness between Jainism and Hinduism. Temple entry laws and the public debates over caste became occasions for the Jains not only to examine their distance—or closeness—to Hinduism, but also the relationship between their community and the state, which came to be imagined as predominantly Hindu. This article, by focusing on the Jains and this forgotten episode, hopes to illuminate the civilizational categories underlying state practices and the fraught relationship between nationalism and minorities.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

The Book as Waste: Henry Mayhew and the Fall of Paper Recycling

2012 ◽  
Author(s):  
Leah Price
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Electronic Media ◽  
Wood Pulp ◽  
The Other ◽  
Late Nineteenth Century ◽  
Pulp Paper ◽  
Late Twentieth ◽  
Late Nineteenth ◽  
Late Twentieth Century

This chapter suggests that two phenomena that usually get explained in terms of the rise of electronic media in the late twentieth century—the dematerialization of the text and the disembodiment of the reader—have more to do with two much earlier developments. One is legal: the 1861 repeal of the taxes previously imposed on all paper except that used for printing bibles. The other is technological: the rise first of wood-pulp paper in the late nineteenth century and then of plastics in the twentieth. The chapter then looks at Henry Mayhew's London Labour and the London Poor (1861–62), the loose, baggy ethnography of the urban underclass that swelled out of a messy series of media. Mayhew's “cyclopaedia of the industry, the want, and the vice of the great Metropolis” so encyclopedically catalogs the uses to which used paper can be turned.

‘Your memorials shall survive the grave’: elegy and remembrance

2018 ◽  
pp. 118-149
Author(s):  
Alison Morgan
Keyword(s):  
Central Feature ◽  
Self Awareness ◽  
The Public ◽  
Vernacular Culture ◽  
The Future ◽  
Broadside Ballads ◽  
The Dead ◽  
The Moment ◽  
The Way

The sixteen ballads and songs within this section fall into two camps: elegy and remembrance. Whilst a central feature of elegiac poetry is the way in which it remembers or memorialises the dead, the dead a poem which is one of remembrance is not necessarily an elegy. Several of the songs herein use the date of Peterloo as a temporal marker – with an eye both on the contemporaneous reader or audience and the future reader. Included in this section are broadside ballads by Michael Wilson and elegies by Samuel Bamford and Peter Pindar. These songs display a self-awareness in their significance in marking the moment for posterity and in their attempts to reach an audience beyond Manchester and ensure that the public knew what had happened on 16th August as well as preserving the event in English vernacular culture. It is also a quest for ownership of the narrative of the day; the speed with which so many of these songs were written and published not only suggests the ferocity of emotions surrounding events but also the need to exert some control over the way in which they were represented.

‘Tomb to Give Away’: The Significance of Graves and Dead Bodies in Present-Day Austria

2016 ◽  
Author(s):  
Estella Weiss-Krejci
Keyword(s):  
Twentieth Century ◽  
The Other ◽  
Long Bone ◽  
Stream Channel ◽  
Small Stream ◽  
Small Glass ◽  
Great Speed ◽  
Water Container ◽  
The Dead ◽  
Northern Fringe

Several years ago, my son and I moved into an apartment on the northern fringe of Graz, the capital of Styria, Austria. One day I decided to take a walk in a nearby forest through which a small stream, the Gabriachbach, flows. As I walked along the stream, I noticed in the water coloured glass shards as well as many nicely cut stone blocks. I became increasingly more curious and started to search the stream bed systematically. Picking up more and more artefacts, my collection grew at a great speed and soon the pockets of my trousers and the plastic shopping bag that I happened to have on me started to burst. Among other items, I found a water container, a broken lantern, several small glass bottles, and the fragment of a human long bone. As I gradually moved upstream, I found more worked stones in association with the remains of an iron fence. At that moment the realization dawned upon me that I was standing in the midst of the cleared out and dumped remains from a cemetery. Inquiring about the provenance of the remains, I was told by a friend of mine that they derive from a nearby graveyard, most likely of St Veit, and date to the first half of the twentieth century; he found a gravestone with the inscription ‘1943’. The dumping probably took place at the end of the 1970s since at that time the stream channel had been reconstructed, apparently with stones and other materials deriving from the cemetery. To find myself amidst discarded cemetery remains did not particularly shock me at the time. I assume it is my cultural disposition as an Austrian—we have a reputation for concerning ourselves with death quite happily—not worrying about such types of confrontations with the inevitability of death. I remember feeling a bit sad about all the dead people, their grave stones, flower vases, candle holders, and all the other belongings. My thoughts also went to those who had cared for the graves and who were also long gone. What really stuck in my mind though, is that overwhelming feeling of the futility of any material accomplishment by the dead as well as the lack of remembrance for them.

sacrifice. [17] Philoneos’ concubine went along for the sacrifice. When they were in Peiraieus, Philoneos sacrificed, of course. And when he had completed the sacrifice, the female wondered how to administer the drug to them, before or after dinner. And as she considered the matter she concluded that after dinner was better; she was also acting on the instructions of this Klytaimestra, my brother’s mother. [18] The full account of the dinner would be too longwinded for me to tell and you to hear. I shall try to give as brief an account as I can of the rest, of how the poison was administered. After dinner, naturally, since one was sacrificing to Zeus of Possessions and entertaining the other, and one was about to go on a voyage and was dining with a close friend, they made a libation and offered incense for their future. [19] And while Philoneos’ concubine was pouring the libation for them – as they offered prayers which would never be fulfilled, gentlemen – she poured in the poison. Thinking she was being clever, she gave more to Philoneos in the belief perhaps that if she gave him more she would win more affection from him – she had no idea that she was my stepmother’s dupe until disaster struck – while she poured less in our father’s drink. [20] They for their part after pouring their libations took their final drink, holding in their hands their own killer. Philoneos died at once on the spot; our father was afflicted with a sickness from which he died after twenty days. For this the assistant who carried out the act has the reward she deserved, though she was not to blame – she was put on the wheel and then handed over to the public executioner; the guilty party, the one who planned it, will soon have hers, if you and the gods will it. [21] Note how much more just my plea is than my brother’s. I urge you to avenge the dead man, who is the victim of an irreparable wrong. For the dead man my brother will offer no request, though he deserves your pity and support and vengeance for having his life taken in a godless and inglorious manner before his time by the last people who should have done this. [22] His plea will be for the murderess, a plea which is unprincipled, unholy, which deserves neither fulfilment nor attention either from the gods or from you; he will seek with his plea (to induce you not to convict her for her crimes) though she could not induce herself not to devise them.* But you must give your support not to those who kill but to the victims of deliberate

2002 ◽  
pp. 47-48
Keyword(s):  
Close Friend ◽  
The Other ◽  
Full Account ◽  
The Public ◽  
The Dead ◽  
The One ◽  
Dead Man ◽  
The Sacrifice

Two Treatments of a Subject: Proust's “La Regarder Dormir” and Valéry's La Dormeuse

PMLA ◽  
1956 ◽  
Vol 71 (5) ◽  
pp. 900-909
Author(s):  
Henry A. Grubbs
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Present Status ◽  
The Other ◽  
Recent Survey ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Prose Fiction ◽  
Figure Of Speech ◽  
Late Nineteenth

A critical cliché often heard today is that Proust was fundamentally a poet rather than a novelist. The historians of literature and the critics do not put it quite as crudely as that, but their remarks frequently permit such an assumption on the part of the reader. Thus the Castex and Surer manual, in its twentieth-century volume, finds in “toute l'œuvre [de Proust] un climat d'intense Poesie” (p. 82). And Georges Cattaui, in his recent survey of the present status of Proust, though he does not in so many words call Proust a poet or his novel a poem, does say that Proust is above all the heir “de Nerval, de Baudelaire, de Mallarmé,—de ces poètes qui lui ont enseigné l'art de transfigurer les choses, l'art de délivrer la beauté prisonnière … ” Now all this is true if it is merely taken as a vivifying figure of speech, if it merely means that Proust was not a realistic novelist, and that he shows the influence of the great French poets of the late nineteenth century, or that, to use a convenient term, he was a symbolist, like his contemporaries, Claudel, Gide, and Valéry. But it has so often been said in our time that the twentieth century has seen the breaking down of the distinctions between the novel and poetry, that it seems to me useful to demonstrate, by studying two treatments of the same subject, one that of a novelist, Proust, the other that of a poet, Valéry, that there remains a fundamental and profound difference between the intent and the method of prose fiction and of poetry, at least the type that is today called “pure” poetry.

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