The late-twentieth century resolution of a mid-nineteenth century dilemma generated by the eighteenth-century experiments of Ernst Chladni on the dynamics of rods

1991 ◽  
Vol 43 (3) ◽  
pp. 251-273 ◽  
Author(s):  
James F. Bell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Late Twentieth ◽  
Late Twentieth Century

scholarly journals Daniel Call’s Schocker: German Knittelvers in the late twentieth century

2018 ◽  
Vol 4 (2) ◽  
pp. 7-30
Author(s):  
David Chisholm
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Fifteenth Century ◽  
First Century ◽  
Early Twenty ◽  
Late Twentieth ◽  
Verse Form ◽  
Verse Forms ◽  
Late Twentieth Century

The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers.Well-known examples occur together with other verse forms in Goethe’s Faust and Schiller’s Wallensteins Lager, as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy Schocker, a modern parody of Goethe’s Faust. Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.

scholarly journals Blonda själar: Johan Runius, maskulinitet, nation och genre i litteraturhistorien

2018 ◽  
Vol 15 ◽  
pp. 34-58
Author(s):  
Anna Cullhed
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Literary History ◽  
Early Nineteenth Century ◽  
The Face ◽  
History Of ◽  
Late Twentieth ◽  
Early Eighteenth Century ◽  
Late Twentieth Century

‘Blond Souls’: Johan Runius, Masculinity, Nation and Genre in Literary HistoryThis paper shows that the historiographical accounts of Johan Runius (1679–1713) remain remarkably stable, from the early stages of national literary history of the nineteenth century to the late twentieth century, despite the radical theoretical shifts taking place during the period. The poet Runius is generally described as an occasional poet, a rhyme virtuoso, a good-tempered man, and as a precursor of the celebrated Carl Michael Bellman, considered a uniquely Swedish genius. These features are connected to nineteenth- and early twentieth-century ideals of masculinity and the nation. Whereas Runius in the early nineteenth century was described as childish, during the later nineteenth century his good temper was interpreted as an ideal, steadfast masculinity in the face of the hardships of early eighteenth-century Sweden. Further, the historiographical tradition set greater store by poems defined as lyrical. The hailed poems were, in fact, occasional poems, but they were recontextualised by the literary historians as proof of Runius’ personal feelings. The article ends with new suggestions for reading Runius beyond nation as the ordering principle of literary history.

A Reading of Westcott's Gospel of Creation: An Early Venture into Ecological Theology?

2013 ◽  
Vol 12 (2) ◽  
pp. 185-202
Author(s):  
Duncan Reid
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Natural World ◽  
Close Reading ◽  
Ecological Theology ◽  
Late Twentieth ◽  
Science And Theology ◽  
Doctrine Of Creation ◽  
The Relationship ◽  
Late Twentieth Century

AbstractIn response to the contemporary ecological movement, ecological perspectives have become a significant theme in the theology of creation. This paper asks whether antecedents to this growing significance might predate the concerns of our times and be discernible within the diverse interests of nineteenth-century Anglican thinking. The means used here to examine this possibility is a close reading of B. F. Westcott's ‘Gospel of Creation’. This will be contextualized in two directions: first with reference to the understanding of the natural world in nineteenth-century English popular thought, and secondly with reference to the approach taken to the doctrine of creation by three late twentieth-century Anglican writers, two concerned with the relationship between science and theology in general, and a third concerned more specifically with ecology.

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.

Conclusion: the emergence of Tasso’s psychobiography

2017 ◽  
Author(s):  
Jason Lawrence
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Leigh Hunt ◽  
Late Twentieth ◽  
Absent Mother ◽  
Late Twentieth Century

The conclusion traces how the psychoanalytical approach utilised in late twentieth-century Freudian interpretations of Tasso’s life and work, by Margaret Ferguson and Giampiero Giamperi for example, had been pre-empted in English biographical accounts of the poet from the second half of the nineteenth century. J. A. Symonds and Leigh Hunt both focus on the same autobiographical poem, the unfinished Canzone al Metauro, as these later psycho-biographical readings to try to account for Tasso’s troubled relationships with his absent mother and particularly his father Bernardo. The conclusion argues that the absence of a clearly defined vocabulary for psychoanalytical discourse pre-Freud does not diminish the acuity of these earlier biographical observations on the poet.

Introduction

2020 ◽  
pp. 1-44
Author(s):  
Gavin Miller
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Science Fiction ◽  
Late Nineteenth Century ◽  
Late Twentieth ◽  
Late Nineteenth ◽  
Psychological Knowledge ◽  
Reflexive Function ◽  
And Function ◽  
Late Twentieth Century

For the purposes of this book, science fiction is defined broadly in the terms advanced by Darko Suvin, with a focus on the genre from the late nineteenth century onwards. Psychology is conceived as the modern Western discipline, running from the origins of experimental psychology in the late nineteenth century to the ascendance of neuroscience as a disciplinary rival in the late twentieth century. Five different functions for psychological discourses in science fiction are proposed. The didactic-futurological function educates the non-specialist through extrapolation of psychological technologies, teaching within the context of futurological forecasting. The utopian function anchors in historical possibility the imagining of a currently non-existent society, whether utopian or dystopian. The cognitive-estranging function defamiliarizes and denaturalizes social reality by extrapolating current social tendencies and/or construct unsettling fictional analogues of the reader’s world. The metafictional function self-consciously thematizes within narrative fiction the psychological origins, nature, and function of science fiction as a genre. The reflexive function addresses the construction of individuals and groups who have reflexively adopted the ‘truth’ of psychological knowledge.

The folk’ish heritage in Nordic democracy: Examples from Denmark and Norway

2019 ◽  
Vol 17 (4) ◽  
pp. 432-447 ◽  
Author(s):  
Jeppe Nevers ◽  
Jesper Lundsby Skov
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
European Integration ◽  
Reference Point ◽  
The People ◽  
Starting Point ◽  
Late Twentieth ◽  
1960S And 1970S ◽  
The 1960S ◽  
Late Twentieth Century

Drawing on examples from Danish and Norwegian history, this article traces the ideological origins of Nordic democracy. It takes as its starting point the observation that constitutional theories of democracy were rather weak in the Nordic countries until the mid-twentieth century; instead, a certain Nordic tradition of popular constitutionalism rooted in a romantic and organic idea of the people was central to the ideological foundations of Nordic democracy. This tradition developed alongside agrarian mobilization in the nineteenth century, and it remained a powerful ideological reference-point through most of the twentieth century, exercising, for instance, an influence on debates about European integration in the 1960s and 1970s. However, this tradition was gradually overlaid by more institutional understandings of democracy from the mid-twentieth century onwards, with the consequence that the direct importance of this folk’ish heritage declined towards the late twentieth century. Nevertheless, clear echoes of this heritage remain evident in some contemporary Nordic varieties of populism, as well as in references to the concept of folkestyre as the pan-Scandinavian synonym for democracy.

The Sanctification of Yiddish among Hasidim

AJS Review ◽  
2020 ◽  
Vol 44 (1) ◽  
pp. 163-181
Author(s):  
Daniel Reiser
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Oral Culture ◽  
Early Stages ◽  
Vernacular Language ◽  
The Holocaust ◽  
The Status ◽  
Late Twentieth ◽  
Late Twentieth Century

AbstractThe sanctification of Yiddish in hasidic society occurred primarily in the first half of the twentieth century and intensified in the wake of the Holocaust. The roots of this phenomenon, however, lie in the beginnings of Hasidism in the eighteenth century. The veneration of Yiddish is linked to the hasidic attitude towards vernacular language and the status of the ẓaddik “speaking Torah.” Hasidism represented—and represents—an oral culture in which the verbal transfer of its sacred content sanctifies the language spoken by its adherents, in this case, Yiddish. This article presents a theological and sociological examination of the various stages of the sanctification of Yiddish among Hasidim from the movement's early stages to the late twentieth century.

scholarly journals Technology and the Era of the Mass Army

2014 ◽  
Vol 74 (2) ◽  
pp. 449-481 ◽  
Author(s):  
Massimiliano Gaetano Onorato ◽  
Kenneth Scheve ◽  
David Stasavage
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
French Revolution ◽  
Great Powers ◽  
Set Covering ◽  
Data Set ◽  
Military Forces ◽  
Explosive Force ◽  
Late Twentieth ◽  
Late Twentieth Century

We investigate how technology has influenced the size of armies. During the nineteenth century, the development of the railroad made it possible to field and support mass armies, significantly increasing the observed size of military forces. During the late twentieth century, further advances in technology made it possible to deliver explosive force from a distance and with precision, making mass armies less desirable. We find support for our technological account using a new data set covering thirteen great powers between 1600 and 2000. We find little evidence that the French Revolution was a watershed in terms of levels of mobilization.

Closer Still: The Total Artwork

Lyric Cousins ◽  
2016 ◽  
Author(s):  
Fiona Sampson
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Richard Wagner ◽  
Interior Decoration ◽  
Late Eighteenth Century ◽  
The Arts ◽  
Late Eighteenth ◽  
The Future ◽  
Late Twentieth ◽  
Late Twentieth Century

This chapter considers the Gesamtkunstwerk, which English musicologists translate as ‘total artwork’. Richard Wagner had used the expression to characterise his operas, though he had only ever used the term in two essays, both published in 1849: ‘Art and Revolution’ and ‘The Artwork of the Future’. Moreover, the term did not originate from Wagner himself, and he did not even spell it in the conventional way. Since the late twentieth century ‘Gesamtkunstwerk’ has been applied to other artforms, particularly architecture, which like opera can unite a number of elements. (Architecture, for example, marries engineering, landscaping and interior decoration, among others.) But the term's origins are in the late eighteenth-century notion that all the arts could be unified in poetry.

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