The Egalitarian Waltz

1973 ◽  
Vol 15 (3) ◽  
pp. 368-377 ◽  
Author(s):  
Ruth Katz
Keyword(s):  
Nineteenth Century ◽  
Central Europe ◽  
French Revolution ◽  
Western World ◽  
Middle Classes ◽  
Social Dancing ◽  
The World ◽  
Cultural Historian ◽  
The Individual ◽  
Looking Back

One need not be an anthropologist or a cultural historian to remark that social dancing these days seems to isolate the individual in a trance-like self-absorption which virtually disconnects him from the world and even from his partner. Indeed, the dance of the day—like other art forms—is often a good reflection of the values of a given time and place. Today's developments, both in the dance and in society, provide more than the usual scholarly justification for looking back to one of the earliest manifestations of individualism and escape in the dance and its association with the values of liberty, equality and uncertainty which followed upon the French Revolution. The dance was the waltz; the dancers, at first, were the middle classes, soon to be joined by both upper and lower classes; the time and place are Central Europe, and soon the whole Western world, at the beginning of the nineteenth century.

scholarly journals MORPHINE-ADDICTED DOCTORS, THE ENGLISH OPIUM-EATER, AND EMBATTLED MEDICAL AUTHORITY

2005 ◽  
Vol 33 (2) ◽  
pp. 541-553 ◽  
Author(s):  
Barry Milligan
Keyword(s):  
Nineteenth Century ◽  
Western World ◽  
Medical Professionals ◽  
Medical Authority ◽  
Demographic Group ◽  
Statistical Table ◽  
The World ◽  
American Physician ◽  
Looking Back

IN1883, the American physician J. B. Mattison made the startling announcement that the majority of American morphine habitues were doctors and suggested that between thirty and forty percent of medical professionals were addicted (23). By 1909, an English addiction specialist had broadened the context and seemingly raised the ante, claiming “that the proportion of medical addicts to the total of cases is in some statistics as high as ninety per cent., and that one-fifth of the mortality in the profession is said to be caused by morphinism” (Jennings,The Morphia Habitv). Looking back in 1924, the German psychopharmacologist Louis Lewin referred to a “statistical table of [morphine] addicts, including all countries of the world,” which “gave 40.4 per cent doctors, 10.0 per cent doctors' wives” (54). Of course, all these data are somewhat questionable since reliable measures would have been all but impossible to obtain and the proportions surely varied over the periods and areas in question. But we can reasonably deduce at least this much: medical professionals were consistently the most prominent demographic group among morphine addicts in the developed western world after the middle of the nineteenth century.

Staging the Folk: Choreographic Issues of National Representation

2021 ◽  
Vol 39 (2) ◽  
pp. 222-246
Author(s):  
Anthony Shay
Keyword(s):  
Nineteenth Century ◽  
Soviet Union ◽  
French Revolution ◽  
Folk Dance ◽  
Ethnic Representation ◽  
Nation States ◽  
The Soviet Union ◽  
The World ◽  
Classical Ballet ◽  
Dance Companies

This article looks at the multiple ways that folk dance has been staged in both the nineteenth century when character or national (the two terms were used interchangeably) dance was widely used in classical ballet, and the twentieth in which Igor Moiseyev created a new genre of dance related to it. The ballet masters that created character dance for ballet often created ballroom dances based on folk origin, but that would be suitable for the urban population. This popularity of national dance was the result of the burgeoning of romantic nationalism that swept Europe after the French Revolution. Beginning in the 1930s with Igor Moiseyev founding the first professional ‘folk dance’ company for the Soviet Union, nation states across the world established large, state-supported folk dance companies for purposes of national and ethnic representation that dominated the stages of the world for the second half of the twentieth century. These staged versions of folk dance, were, I argue an extension of nineteenth century national/character dance because their founding directors, like Igor Moiseyev, came from the era when ballet dancers were trained in that genre.

scholarly journals The Most Homophobic Place on Earth? A Look Into the Anti-Homosexuality Culture of Jamaica

Perceptions ◽  
2018 ◽  
Vol 4 (2) ◽  
pp. 7
Author(s):  
Effi Booth
Keyword(s):  
Oral History ◽  
Western World ◽  
Contemporary History ◽  
Writing Course ◽  
The World ◽  
The Usa ◽  
History Of ◽  
Degree Of Acceptance ◽  
Scholarly Data ◽  
The Individual

This paper was presented in History 3697, fall semester, 2017, a mid-level required writing course designed to link the methods of oral history with the study of issues in the contemporary history of the non-western world. The issue for all of us in this course was social change in recent times. I chose to examine the degree of acceptance of gays in Jamaica, in an era of great change in sexual mores throughout the world. I read the literature; I interviewed Julian, a recent immigrant from Jamaica, and I drew conclusions based on integrating the scholarly material with the interview revelations. The findings were important both for understanding (the lack of) change in sexual attitudes in Jamaica, and the importance of analysis of the individual and the collective together, of the interview and the scholarly data examined together. The individual, at least my interviewee, and the society, are currently resistant to change. The main conclusion: changes in sexual mores in other areas of the world are taking place at rates very different from, and, specifically in Jamaica, at rates much slower than, those in the USA.

Introduction

2019 ◽  
pp. 1-15
Author(s):  
Matthew Kelly
Keyword(s):  
Climate Change ◽  
Nineteenth Century ◽  
Human Nature ◽  
Future Study ◽  
Historical Study ◽  
The World ◽  
Individual Contributions ◽  
The Individual ◽  
Narrative Thread ◽  
The Relationship

This introduction considers the ‘environmental turn’ taken in the humanities, and particularly in historical study, suggesting ways in which these developments might animate the future study of nineteenth-century Ireland. Question of agency and the relationship between human and non-human nature are addressed. Also considered is how current environmental concerns, and climate change in particular, should lead us to think anew about the past, rendering familiar subjects unfamiliar. Particular attention is paid to how Ireland’s past might be located within larger global processes, attracting the interest of scholars from throughout the world. It then introduces the individual contributions in the volume, tracing a narrative thread through them in order to demonstrate how a change in optic can significantly change how we think about Ireland’s recent past.

A Crash Course in Chopinology

2020 ◽  
pp. 1-14
Author(s):  
Jonathan Kregor
Keyword(s):  
Nineteenth Century ◽  
Art Music ◽  
Franz Liszt ◽  
Richard Wagner ◽  
Robert Schumann ◽  
Western World ◽  
Giuseppe Verdi ◽  
Hector Berlioz ◽  
The World ◽  
Felix Mendelssohn

As the Western world celebrated the dawn of its third millennium, devotees of nineteenth-century art music started to prepare for a spate of bicentennials. By 2013, Hector Berlioz, Felix Mendelssohn, Robert Schumann, Franz Liszt, Giuseppe Verdi and Richard Wagner had been honoured with symposia, concerts, exhibitions and premieres the world over. These events offered opportunities for participants to take stock of who these composers once were, who they are now, and how they might endure to the next milestone anniversary.

Nation and Generation in A Tale of Two Cities

PMLA ◽  
1978 ◽  
Vol 93 (3) ◽  
pp. 448-462 ◽  
Author(s):  
Albert D. Hutter
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
The Novel ◽  
Generational Conflict ◽  
The Past ◽  
Two Cities ◽  
Critical Model ◽  
The Individual ◽  
Critical Methods ◽  
The French Revolution

A Tale of Two Cities, the French Revolution becomes a metaphor for the conflicts between generations and between classes that preoccupied Dickens throughout his career. Dickens uses a double plot and divided characters to express these conflicts; his exaggerated use of “splitting”—which the essay defines psychoanalytically—sometimes makes A Tale of Two Cities‘ language and structure appear strained and humorless. We need to locate A Tale of Two Cities within a framework of nineteenth-century attitudes toward revolution and generational conflict by using a combination of critical methods—literary, historical, psychoanalytic. This essay relates the reader's experience to the structure of the text; and it derives from Dickens’ language, characterization, and construction a critical model that describes the individual reader's experience while explaining some of the contradictory assessments of the novel over the past hundred years.

Interior decorating in nineteenth-century France

2018 ◽  
Author(s):  
Anca I. Lasc
Keyword(s):  
Nineteenth Century ◽  
Visual Culture ◽  
Interior Design ◽  
Professional Group ◽  
Department Stores ◽  
Middle Classes ◽  
The World ◽  
Nineteenth Century France ◽  
The Ideal

This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs. The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.

The Invention of Tradition as Public Image in the Late Ottoman Empire, 1808 to 1908

1993 ◽  
Vol 35 (1) ◽  
pp. 3-29 ◽  
Author(s):  
Selim Deringil
Keyword(s):  
Nineteenth Century ◽  
Ottoman Empire ◽  
French Revolution ◽  
World History ◽  
Public Image ◽  
Political Systems ◽  
National Foundation ◽  
The World ◽  
Late Ottoman Empire ◽  
Late Ottoman

The nineteenth century, a time when world history seemed to accelerate, was the epoch of the Risorgimento and the Unification of Germany. It was also an epoch which saw the last efforts of dynastic ancien régime empires (Habsburg, Romanov, Ottoman) to shore up their political systems with methods often borrowed from their adversaries, the nationalist liberals. Eric Hobsbawm's inspiring recent study has pointed out that, in the world after the French Revolution, it was no longer enough for monarchies to claim divine right; additional ideological reinforcement was required: “The need to provide a new, or at least a supplementary, ‘national’ foundation for this institution was felt in states as secure from revolution as George III's Britain and Nicholas I's Russia.”

scholarly journals Self-control, Selfishness and Mutilation: How ‘Medical’ is Self-Injury Anyway?

2011 ◽  
Vol 55 (3) ◽  
pp. 375-382 ◽  
Author(s):  
Sarah Chaney
Keyword(s):  
Nineteenth Century ◽  
Social Issues ◽  
Self Control ◽  
Western World ◽  
Late Nineteenth Century ◽  
Patient Profile ◽  
Self Mutilation ◽  
Self Harm ◽  
The Creation ◽  
The Individual

Self-inflicted injury, or ‘self-harm’, has been a topic of much debate in recent years. The media in the Western world has tended to portray the issue as an increasing ‘trend’, relating it to various contemporary concerns, including the so-called ‘celebrity culture’ and urban decline. The past decade in the UK has seen the publication of various clinical guidelines, a National Inquiry into Self-Harm in young people, and almost continual media speculation. In the last two decades of the nineteenth century, speculation also occurred around ‘self-mutilation’, an area newly defined by alienists (asylum psychiatrists). This topic has received little historical attention; yet, had ‘self-harm’ been on the agenda in the 1970s and '80s, nineteenth-century self-mutilation would no doubt have been presented as part of a discourse on professionalisation, in which the creation of a new psychiatric category was presented as part of the ‘medicalisation’ of psychiatry, through observation and classification within asylums. More recently, a changing historiography has led to histories of self-harm being located within a schema for ‘making up’ people, such as attention to the development of a patient profile for the apparently new behaviour of ‘delicate self cutting’ in the mid-twentieth century. This article builds on this concept to explore broader social issues around the creation of the concept of ‘self-mutilation’, which help to explain the occurrence of an impetus for ‘making up people’ in a particular period or culture. In particular, the impetus is related here to changing ideas of what constituted the ‘self’ and the relation of the individual to society in the late nineteenth century.

South Africa and the International Community

1966 ◽  
Vol 18 (2) ◽  
pp. 297-313 ◽  
Author(s):  
Richard Dale
Keyword(s):  
South Africa ◽  
Nineteenth Century ◽  
South African ◽  
British Empire ◽  
Nobel Laureate ◽  
Western World ◽  
Founding Father ◽  
Boer War ◽  
The World ◽  
History Of

Ever since the discovery there of gold and diamonds in the last half of the nineteenth century, South Africa has engaged the rapt attention of the Western world. The saga of the Anglo-Boer War of 1899–1902, perhaps the last of the “gentlemen's wars,” and now the refurbished accounts of the gallant defense of Rorke's Drift in the AngloZulu War of 1879 have been fascinating material for both novelists and film scriptwriters. In addition, the history of South Africa is replete with titanic figures who rank with, or perhaps even above, those from the rest of the continent: the aggressive architect of empire, Cecil J. Rhodes; the redoubtable Zulu warrior, Chaka; the dour, stern-willed President of the South African Republic, “Oom” (Uncle) Paul Kruger; the world-renowned statesman and philosopher, Field Marshal Jan C. Smuts; the founding father of Indian independence, Mohandas K. Gandhi; the compassionate and courageous writer, Alan S. Paton; and the dignified, modest Zulu Nobel Laureate, Albert J. Luthuli. By any standard, South Africa and its leaders of all races have made far-reaching and impressive contributions to the continent, the British Empire, and the world at large.

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