Béla Bartók: An Estimate and an Appreciation

Tempo ◽  
1945 ◽  
Vol -3 (13) ◽  
pp. 236-240
Author(s):  
Ernest Chapman
Keyword(s):  
Nineteenth Century ◽  
Art Music ◽  
The Other ◽  
Bela Bartok ◽  
Racial Consciousness ◽  
Musical Expression ◽  
History Of ◽  
The One

The history of nineteenth-century Hungarian art music, like that of England, is mainly one of foreign domination. Although Liszt and his chief national contemporary Ferenc Erkel both gave musical expression to racial consciousness—the one in his employment of popular gypsy airs, the other in a series of patriotic operas—the accumulated weight of German tradition (Liszt) and Italian operatic supremacy (Erkel) was too heavy suddenly to be overthrown. The results, viewed from the standpoint of an indigenous national art, cannot be considered important.

A Work of Combat: Mulatto Historians and the Haitian Past, 1847-1867

1974 ◽  
Vol 16 (1) ◽  
pp. 15-38 ◽  
Author(s):  
David Nicholls
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
National Party ◽  
The South ◽  
Liberal Party ◽  
Predominantly Black ◽  
The Social ◽  
History Of ◽  
Prejudice And Discrimination ◽  
The One

One of the striking facts about the social and political history of Haiti from independence in 1804 to the present is the deep gulf separating the largely mulatto elite groups from the predominantly black masses. The war of the South in 1799 between Toussaint and Rigaud, and the conflicts between Christophe and Pétion, while not primarily caused by color factors, were reinforced by suspicions and hostilities between black and mulatto, with each group accusing the other of prejudice and discrimination. Politics in the rest of the nineteenth century can generally be seen as a tussle between a mulatto elite centered in the capital and in the cities of the South, on the one hand, and a small black elite often in alliance with army leaders and peasant irregulars, on the other. In the years following 1867 these groups formalized themselves into a largely mulatto Liberal Party, and a preponderantly black National Party.

Beyond control: Orientalist tensions and the history of the “upas tree” myth

2018 ◽  
Vol 55 (2) ◽  
pp. 173-189
Author(s):  
Tim Hannigan
Keyword(s):  
Nineteenth Century ◽  
Southeast Asia ◽  
Fourteenth Century ◽  
The Other ◽  
Early Nineteenth Century ◽  
Surrounding Atmosphere ◽  
History Of ◽  
The One

The “upas tree” is one of the most enduring European myths about Southeast Asia. Accounts of a tree so toxic that it renders the surrounding atmosphere deadly can first be identified in fourteenth-century journey narratives covering what is now Indonesia. But while most other such apocrypha vanished from later European accounts of the region, the upas myth remained prominent and in fact became progressively more elaborate and fantastical, culminating in a notorious hoax: the 1783 account of J. N. Foersch. This article examines the history of the development of the upas myth, and considers the divergent responses to Foersch’s hoax amongst scientists and colonial administrators on the one hand, and poets, playwrights, and artists on the other. In this it reveals a significant tension within the emerging “Orientalist” discourse about Southeast Asia in the early nineteenth century.

Philosophies of Life

2019 ◽  
pp. 275-298
Author(s):  
Gavin Flood
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Seventeenth Century ◽  
Dynamic Process ◽  
The Other ◽  
Romantic Poetry ◽  
Theological Discourse ◽  
Life Itself ◽  
History Of ◽  
The One

On the one hand, we have the development of science from the seventeenth to nineteenth century, while on the other, we have a focus on life in philosophy at the dawn of the nineteenth century. Here, life is understood in terms of nature as a dynamic process linked to impulse or drive. Partly stemming from a mystical discourse in the seventeenth century, the concern for life comes to be disseminated through the history of both Romantic poetry and Romantic philosophy. This vitalist spirit can be traced through to the twentieth century. Life itself comes to be articulated through a mystical theological discourse that ends in Romantic poetry and through a philosophical discourse that ends in phenomenology.

Jessie Fauset’s Not-So-New Negro Womanhood

2018 ◽  
pp. 222-247
Author(s):  
Meredith L. Goldsmith
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
The Other ◽  
Late Nineteenth Century ◽  
New Negro ◽  
Jessie Fauset ◽  
History Of ◽  
Late Nineteenth ◽  
The One ◽  
Other Regarding

Chapter 8 responds to two prevailing arguments about the fiction of Jessie Fauset—the one labeling her work retrograde, the other regarding it as subtly subversive—by viewing the writer’s work as part of a history of long nineteenth-century representation. Countering the dominant perception of the Harlem Renaissance as a break from the past—a view that has shunted Fauset’s work to the sidelines—the essay argues that Fauset’s work explores the legacy of late-nineteenth-century US culture in the emergent modernity of the early twentieth century. Excavating the literary, cultural, and scientific tropes of feminine representation that burst from the pages of Fauset’s fiction, the essay identifies a recent literary past that informs Fauset’s constructions of her modern urban heroines.

Sympathy and Synesthesia

2019 ◽  
pp. 3-23
Author(s):  
Dina Gusejnova
Keyword(s):  
Nineteenth Century ◽  
Political Thought ◽  
Adam Smith ◽  
The Other ◽  
Crimean War ◽  
Sergei Eisenstein ◽  
Sensory Experiences ◽  
History Of ◽  
The One ◽  
Literary Techniques

Gusejnova’s chapter offers a wide-ranging assessment of cosmopolitan interpretations of war in the European sentimental tradition. Taking impetus from Tolstoy’s reporting on the Crimean war, Gusejnova turns to the Russian formalists’ interpretation of his technique to reconstruct Tolstoy’s use of literary montage, later adapted to film by Sergei Eisenstein. The chapter then contextualizes the history of this technique within genealogies of cosmopolitan thought on the one hand, and literary sentimentalism on the other. Drawing on works by Adam Smith and Stendhal, Gusejnova surveys some of the intellectual and literary techniques through which cosmopolitan sentiments became widespread in eighteenth- and nineteenth-century Europe. She argues that Tolstoy’s reproduction of multi-sensory experiences through montage is a statement of his political thought, reflecting his intent to increase the human capacity for compassion in light of cosmopolitan ideals. The chapter proposes that greater understanding between people was driven by the literary, visual, and sonic mediation of violent wartime encounters.

Race and Its Discontents in the Enlightenment

2015 ◽  
Author(s):  
Justin E. H. Smith
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Cultural Difference ◽  
Cultural Anthropology ◽  
The Other ◽  
Johann Gottfried Herder ◽  
The Enlightenment ◽  
History Of ◽  
Human Difference ◽  
The One

This chapter surveys some of the more important developments in the history of the concept of race in eighteenth-century Germany. It reveals an inconsistency between the desire to make taxonomic distinctions and a hesitance to posit any real ontological divisions within the human species. This inconsistency was well represented in the physical-anthropological work of Johann Friedrich Blumenbach, who was, in many respects, the most important eighteenth-century theorist of human difference. Johann Gottfried Herder, a contemporary of Blumenbach's, was intensely interested in human diversity, but saw this diversity as entirely based in culture rather than biology, and saw cultural difference as an entirely neutral matter, rather than as a continuum of higher and lower. Herder constitutes an important link between early modern universalism, on the one hand, and on the other the ideally value-neutral project of cultural anthropology as it would begin to emerge in the nineteenth century.

Framing Till Eulenspiegel

2006 ◽  
Vol 30 (1) ◽  
pp. 004-043 ◽  
Author(s):  
James Hepokoski
Keyword(s):  
Nineteenth Century ◽  
Art Music ◽  
The Other ◽  
Late Nineteenth Century ◽  
Tone Poem ◽  
Late Nineteenth ◽  
Musical Modernism ◽  
The One ◽  
Cultural Sector ◽  
Formal Construction

Strauss's Till Eulenspiegels lustige Streiche (1895) may be read as the composer's credo of a new, antimetaphysical musical modernism that resonated with aspects of Nietzschean philosophy. In the immediately preceding years Strauss had taken a decisive philosophical-aesthetic turn away from the metaphysical assertions of Schopenhauer and Wagner and toward a more individualistic, palpably material conception of music. As was recognized by some writers of that period, the provocations and unstoppable laughter apparent in the tone poem could be understood as brash dismissals of one "sacred" tenet of the institution of art music after another. The seemingly gemutlich wit represented by Till (a metaphorical stand-in for Strauss himself) masked a more subversive agenda: on the one hand, a mocking of the metaphysical pretensions that then underpinned the art-music enterprise; on the other, the proclaiming of a new aesthetic staging itself as exhilaratingly emancipated from the overly inflated "Spirit of Gravity" still dominating that cultural sector of the musical world. These subversions are perceptible not only in the piece's program but also in its local musical details and overall formal construction. Several larger issues are at stake in such considerations. Strauss's personal move away from the metaphysics of music provides one of the earliest, most urgent alarms from within the high-prestige cultural system that its fundamental axioms were now corroding away, no longer sustainable by authoritarian fiat, in a rapidly modernizing and secularizing world. In turn, this suggests that such a reframing of Strauss's (and others') projects could encourage historians to approach the separate subhistories of musical modernism with a more problematized complexity and nuance. Finally--as all commentators on Till Eulenspiegel have noted--a significant part of the piece's impact resides its flamboyant, high-technical compositional display (a leading sign of its "modernism"). From this perspective the requisite framing is grounded in our recognition of its brazenly confrontational dialogue with established musical styles and practices. Non-normative formal patterning and architectonic layout are substantial components of Strauss's (Till's) musical subversion. In the reading proposed here, Till Eulenspiegel is processed as a radicalized sonata-rondo deformation with telling hermeneutic and social connotations, some of whose essential clues are located in the piece's prologue and epilogue. I interweave this analytical interpretation with remarks about the concept of sonata (and sonata-rondo) deformations as applied to music of the late nineteenth century.

scholarly journals A semiotic interpretation of national typology: the English, the Boers and ... the Russians (Ivan Goncharov’s Frigate Pallas)

Literator ◽  
1991 ◽  
Vol 12 (1) ◽  
pp. 71-81
Author(s):  
H. Mondry
Keyword(s):  
Nineteenth Century ◽  
Russian Literature ◽  
The Other ◽  
Russian Society ◽  
Dual Model ◽  
Cultural Model ◽  
Russian Culture ◽  
History Of ◽  
The One

This article examines the text of renowned nineteenth century Russian travellers notes, The Frigate Pallada, by Ivan Goncharov, the author of Oblomov. Using the teachings of Victor Shklovsky, Yurij Tynianov and Yurij Lotman on the role of the genre of travellers notes in the history of Russian literature, the author examines the chapter on the Cape Province. She demonstrates that in his descriptions of the two nations of the Cape Province - the English and the Boers - Goncharov is applying that which is known to him - his own cultural model of the Russian society of the mid-nineteenth century. In his examination of differences between the English and the Boers Goncharov applies the ideological dichotomy between the Slavophiles and the Westernisers. Goncharov, by "inverting" the "dual model of Russian culture" (Lotman & Uspensky, 1984a) draws comparisons between the Russians of the Oblomov Slavophile type on the one hand, and the English on the other hand as the model for the improvement of the industry of the economically backward Russian nation. To Goncharov the Boers resemble the Oblomov, old world side of dichotomy, which by inversions of the dual model can fluctuate between "the good" and "the bad" categories.

Pièrre Paul Émile Roux, 1853 - 1933

1934 ◽  
Vol 1 (3) ◽  
pp. 197-204
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Spontaneous Generation ◽  
History Of Thought ◽  
The World ◽  
History Of ◽  
The One ◽  
And Control

The most notable happening in the history of thought in the latter half of the nineteenth century is that there came surging through the world then, almost simultaneously, two great waves of thought: the one originated by Darwin, the other by Pasteur. The effects of these two movements of thought were very different. That originated by Darwin brought intellectual illumination and nothing more. That derived from Pasteur brought, in addition, material benefit. Pasteur’s first biological enquiries—those on spontaneous generation—and his researches on beer, wine, and vinegar, showed how to hold off putrefaction and control fermentation; and the further extensions of this work to disease gave us preventive inoculation. It was in connexion with Pasteur’s work on microbic diseases that Roux’s name first became famous.

Spain and Portugal

2021 ◽  
pp. 729-745
Author(s):  
Julio de la Cueva
Keyword(s):  
Nineteenth Century ◽  
Catholic Church ◽  
Religious Pluralism ◽  
Church And State ◽  
The State ◽  
The Other ◽  
New Democracies ◽  
State And Society ◽  
History Of ◽  
The One

The modern religious history of Spain and Portugal begins with the religious unity between the state and society forged around Catholicism, and ends with the present era epitomized by ongoing secularization and incipient religious pluralism. With some difficulty, the Catholic Church adapted to the trials posed by nineteenth-century liberalism, reaching an accommodation with the constitutional monarchies in both Iberian countries. The first serious challenge came with the arrival of the republics in Portugal in 1910 and in Spain in 1931. The republics did not last long, however; two Catholic dictatorships governed the fate of the Peninsula until the 1970s, though separation of church and state was formally maintained in Portugal. The dictatorships ended in 1974 and 1975, respectively, giving way to the establishment of new democracies, accompanied on the one hand by secularization in both the state and society, and on the other by growing religious pluralism.

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