Native American Prisoners and a Victorian Women's Archery Club: Patterns of Changing Social Relations in Late Nineteenth-Century North America

2004 ◽  
Vol 21 (1) ◽  
pp. 67-96 ◽  
Author(s):  
Kay Koppedrayer
Keyword(s):  
Nineteenth Century ◽  
Native American ◽  
North America ◽  
Social Relations ◽  
Late Nineteenth Century ◽  
Late Nineteenth

The True Story of Ah Jake

2013 ◽  
Author(s):  
Mae M. Ngai
Keyword(s):  
Nineteenth Century ◽  
Social Relations ◽  
Cross Cultural ◽  
Late Nineteenth Century ◽  
Cultural Relations ◽  
True Story ◽  
New Knowledge ◽  
Chinese Workers ◽  
Late Nineteenth ◽  
Murder Trial

This chapter examines how the issues of language, labor, and justice intertwined in the murder trial of Ah Jake, a Chinese gold miner in nineteenth-century California. The focus is on the transcript of the Sierra County court's hearing in October 1887, on whether to bring the charge of murder against Ah Jake for the killing of another miner, Wah Chuck. Much of the hearing took place in pidgin, or Chinglish. The chapter first tells the story of Ah Jake and how he came to stand trial for murder before discussing the cross-cultural relations between Anglo, Mexican, and Chinese workers in the gold fields of nineteenth-century California. It suggests that the traces of history that can be gleaned from Ah Jake's trial and pardon, when considered within the frame of transpacific circulations of people, language, and organization, produce new knowledge about social relations in the late-nineteenth-century California interior.

Evangelist of Fragments: Doing Mite-Box Capitalism in the Late Nineteenth Century

2017 ◽  
Vol 86 (1) ◽  
pp. 86-119 ◽  
Author(s):  
Hillary Kaell
Keyword(s):  
Nineteenth Century ◽  
North America ◽  
Sensory Experience ◽  
Late Nineteenth Century ◽  
Social Policies ◽  
Women And Children ◽  
Late Nineteenth ◽  
Market Capitalism

A century ago, the mite box (penny collection box) was ubiquitous in North America as a religious fundraising tool, especially for women and children. Using the Methodist Woman's Foreign Missionary Society as a case study, I ask what these boxes reveal about the intersection of gender, consumerism, and capitalism from circa 1870–1930. By cutting across traditional Weberian and Marxist analyses, the discussion engages a more complex understanding of religion and capital that includes emotional attachments and material sensations. In particular, I argue that mite boxes clarify how systematic giving was institutionalized through practices that created an imaginative bridge between the immediacy of a sensory experience and the projections of social policies and prayers. They also demonstrate how objects became physical points of connection that materialized relationships that were meant to be present, but were not tangible. Last, they demonstrate the continued salience of older Christian ideas about blessings and sacrifice, even in an era normally associated with the secularization of market capitalism and philanthropy.

Illustrating ‘savagery’: Sir John Lubbock and Ernest Griset

Antiquity ◽  
2009 ◽  
Vol 83 (320) ◽  
pp. 488-499 ◽  
Author(s):  
Tim Murray
Keyword(s):  
Nineteenth Century ◽  
Social Relations ◽  
Reception Studies ◽  
Late Nineteenth Century ◽  
Victorian Britain ◽  
Scientific Naturalism ◽  
Late Nineteenth ◽  
The Impact

Much has been written about the extraordinary impact of Darwinism during the mid- to late nineteenth century, expressed in the scholarship of 'reception studies' (see for example Ellegård 1958; Glick 1988; Numbers & Stenhouse 1999). A significant focus has been on developing an understanding of the impact of Darwinian thinking on just about every aspect of Victorian society, particularly on literature, science, politics and social relations (see for example Beer 1983; Frayter 1997; Lorimer 1997; Moore 1997; Paradis 1997; Browne 2001). A great deal of attention has also been paid (by historians and philosophers of science) into the specifics of how the Darwinian message was disseminated so quickly and so broadly. Here the interest lies in the links between the rhetoric of scientific naturalism and the politics of the day, be it Whig-Liberal or Tory (see for example Clark 1997; Barton 1998, 2004; Cliffordet al.2006). A consequent interest lies in the ways in which science was popularised in Victorian Britain (see especially Lightman 1997, 2007).

Africa and The Global Lives of Things

2012 ◽  
Author(s):  
Jeremy Prestholdt
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Social Relations ◽  
Consumer Demand ◽  
Life Cycles ◽  
Three Dimensions ◽  
Late Nineteenth Century ◽  
Early Twentieth Century ◽  
The Social ◽  
Late Nineteenth

Inquiries into commodification, social distinction, and fashion have offered fresh perspectives on social relations and cultural formations in Africa. Imported consumer goods were both elemental to social relationships and a cornerstone of Africa's global interfaces. This article explores how the social dynamics of consumer demand in Africa were shaped by, and gave shape to, larger social, economic, and political relationships from the sixteenth to the early twentieth century. This approach underscores the interrelation of African cultural imperatives and histories of globalization. Focusing on East Africa in the late nineteenth century, the article begins with a snapshot of consumer trends before the nineteenth century. It then examines three dimensions of consumption in the late nineteenth and early twentieth century: marketing consumer objects, the social relations of consumption, and the ways manufacturers accommodated African consumer demand. Taken together, these themes augment our understanding of social change in Africa, contribute to wider reflections on consumption as a mode of trans-societal relation, and highlight how manufactured objects can be conceptually and physically transformed throughout their global life cycles.

Icelandic Cake Fight: History of an Immigrant Recipe

2019 ◽  
Vol 19 (4) ◽  
pp. 28-41
Author(s):  
Laurie K. Bertram
Keyword(s):  
Nineteenth Century ◽  
North America ◽  
North American ◽  
English Language ◽  
Late Nineteenth Century ◽  
History Of ◽  
American Heritage ◽  
Late Nineteenth ◽  
Culinary Traditions ◽  
Oral History Interviews

This article explores the history of vínarterta, a striped fruit torte imported by Icelandic immigrants to North America in the late nineteenth century and obsessively preserved by their descendants today. When roughly 20–25 percent of the population of Iceland relocated to North America between 1870 and 1914, they brought with them a host of culinary traditions, the most popular and enduring of which is this labor-intensive, spiced, layered dessert. Considered an essential fixture at any important gathering, including weddings, holidays, and funerals, vínarterta looms large in Icelandic–North American popular culture. Family recipes are often closely guarded, and any alterations to the “correct recipe,” including number of layers, inclusion or exclusion of cardamom or frosting, and the use of almond extract, are still hotly debated by community members who see changes to “original” recipes as a controversial, even offensive sign of cultural degeneration. In spite of this dedication to authenticity, this torte is an unusual ethnic symbol with a complex past. The first recipes for “Vienna torte” were Danish imports via Austria, originally popular with the Icelandic immigrant generation in the late nineteenth century because of their glamorous connections to continental Europe. Moreover, the dessert fell out of fashion in Iceland roughly at the same time as it ascended as an ethnic symbol in wartime and postwar North American heritage spectacles. Proceeding from recipe books, oral history interviews, memoirs, and Icelandic and English language newspapers, this article examines the complex history of this particular dessert.

scholarly journals Ferdinand Boberg och statistikmaskineriet. Om statistik som medium, attraktion och utställning, ca 1800-1930

1970 ◽  
pp. 21
Author(s):  
Anders Ekström
Keyword(s):  
Nineteenth Century ◽  
North America ◽  
Three Dimensional ◽  
Visual Media ◽  
Visual Language ◽  
Late Nineteenth Century ◽  
Graphic Representations ◽  
Different Types ◽  
Late Nineteenth ◽  
Visual Realism

Different types of statistical representations were among the most prolific visual media in late nineteenth century museums and temporary exhibitions. From the 1890s to the 1930s, several ”social” or ”statistical museums” were founded in Europe and North America, the most famously of which were established by the sociologist Patric Geddes in Glasgow, and by the philosopher Otto Neurath in Vienna. The first part of this paper gives a survey of the development of graphic representations in the nineteenth century, with particular emphasis on the visual pedagogics involved in statistical display. The second part of the paper is dedicated to two statistical displays developed by the Swedish architect Ferdinand Boberg at exhibitions in Helsingborg in 1903 and Stockholm in 1909. In particular, the analysis is focused on the ways in which Boberg’s ”machinery of statistics” – a series of moving, figurative and three-dimensional representations of statistics – related to other media presented at the exhibitions, and to the ways in which the audience was invited to interact with the displays. In the conclusion, the development and use of statistical media in early twentieth century museums are discussed in relation to an intermedial discourse on visual realism and the utopian idea of a universal visual language. 

Unveiling Musical Production: Strauss, Mahler and Commodity Fetishism in the Late Nineteenth Century

2021 ◽  
pp. 1-22
Author(s):  
Jonathan Gentry
Keyword(s):  
Nineteenth Century ◽  
Social Relationships ◽  
Social Relations ◽  
Late Nineteenth Century ◽  
Commodity Fetishism ◽  
Musical Production ◽  
The Social ◽  
The Status ◽  
Late Nineteenth ◽  
Social Subordination

This article locates social relationships within late-nineteenth-century German orchestral music by examining orchestration practices and aesthetics. Wagner's innovations in tone colour, Liszt's use of programmes, and Hanslick's formalism all took attention away from orchestra performers and forged a more direct relationship between audience and composer. This article argues that commercial exchange of serious music displaced social relationships between composer, performer and audience into aesthetic dictums. In particular, the widely agreed upon subordination of orchestration and colour to compositional ‘content’ was a manifestation of the social subordination of performers to composers and resulted in the decreased visibility of performers to consumers. In ultimately breaking from both New German and formalist conventions, Strauss's Don Juan and Mahler's First Symphony brought unwanted attention to orchestration and a renewed focus on performance and performers. In contrast to Wagner's use of doublings, which created timbres without clear instrumental provenance, the orchestration choices of Strauss and Mahler emphasize distinctions between instruments and themes, further highlighting the virtuosic demands they place on performers. Strauss and Mahler made performers into co-producers of their music and raised orchestral colour to the status of content. By employing Marx's concept of commodity fetishism, which Adorno himself largely obscures, this article goes beyond Adorno's and Dahlhaus's analysis of the ‘emancipation of colour’ to show how concert consumption objectified social relations and hierarchies as issues of mere aesthetic form, while compositions themselves became imbued with life-like subjectivity.

Mordecai Zev Feierberg and the Reveries of Redemption

AJS Review ◽  
1977 ◽  
Vol 2 ◽  
pp. 171-199 ◽  
Author(s):  
Alan Mintz
Keyword(s):  
Nineteenth Century ◽  
Social Relations ◽  
Social System ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Prose Fiction ◽  
Inner Life ◽  
Interior Space ◽  
Individual Consciousness ◽  
Late Nineteenth

A shared phenomenon in the prose fiction of Western literatures in the late nineteenth century is the exploration of individual consciousness dissociated from collective existence. Although individual consciousness had been at the center of the fictional enterprise from the beginning, forming a first condition for the rise of the novel as genre, in the novel of sentiment and in the realistic novel the inner life of individual characters was largely produced dialectically from within the medium of social relations and social ideas. The description of an interior space deserving of attention for its own sake, a space generated by rules of its own which evince no clear or necessary connection to the larger social system, constitutes one of the points at which literature can be said to have become “modernist.” Thereafter, one of the central thematic preoccupations of fiction remains the representation of consciousness itself: memory, reflection, and the manifold operations of the imagination, especially the act of writing.

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