Ideas in agrarian history: some observations on the British and nineteenth-century Bihar

Author(s):  
Peter Robb

With the death of Professor Eric Stokes we lost above all a delightful man, unassuming and helpful, intellectually vital and original. He helped inspire a new emphasis upon social and economic history among a whole generation of historians of South Asia. There are many people more appropriate than I to reflect this legacy in a memorial lecture. My only claim to speak may seem to be my continuing admiration for and dependence upon Stokes's work. If I have a wider claim, it must be in the emphasis which I place in my own research upon an empirical study of ideas and their impact; there is some justification for identifying members of the School of Oriental and African Studies with this approach, and it may be associated with us even more in future. If so, our starting-point must be Stokes's great pioneering effort, inThe English Utilitarians and India, to identify the intellectual basis of Indian policy-making in the first half of the nineteenth century. Yet in South Asian studies generally Stokes has had relatively few followers along that path. Among Cambridge historians this first love (if ever they felt its charms) has tended to be supplanted by a positive distaste for flirtations with the impact of ideas. If Stokes is their model, it is in his role as an analyst of agrarian society, as may be enjoyed in his contribution to theCambridge Economic Historyor inThe Peasant Armed, and in parts of that arguably transitional collection,The Peasant and the Raj.

2014 ◽  
Vol 55 (1-2) ◽  
pp. 131-144
Author(s):  
Suzanne Marie Francis

By the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries, and the career of Liszt was beginning to flower into that of the virtuosic performer he would be recognised as by the end of the 1830s. By analysing the seminal artwork Liszt at the Piano of 1840 by Josef Danhauser, we can see how a seemingly unremarkable head-and-shoulders bust of Beethoven in fact holds the key to unlocking the layers of commentary on both Liszt and Beethoven beneath the surface of the image. Taking the analysis by Alessandra Comini as a starting point, this paper will look deeper into the subtle connections discernible between the protagonists of the picture. These reveal how the collective identities of the artist and his painted assembly contribute directly to Beethoven’s already iconic status within music history around 1840 and reflect the reception of Liszt at this time. Set against the background of Romanticism predominant in the social and cultural contexts of the mid 1800s, it becomes apparent that it is no longer enough to look at a picture of a composer or performer in isolation to understand its impact on the construction of an overall identity. Each image must be viewed in relation to those that preceded and came after it to gain the maximum benefit from what it can tell us.


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