Censorship, Social Violence, and Librarian Ethics: A Review ArticleCensorship and Interpretation: The Conditions of Writing and Reading in Early Modern England. Annabel PattersonIntellectual Freedom. Diana WoodwardPolitical Censorship of the Arts and the Press in Nineteenth-Century Europe. Robert Justin GoldsteinSense and Censorship: Commentaries on Censorship Violence in Australia. Michael Pollak

1992 ◽  
Vol 62 (2) ◽  
pp. 217-222 ◽  
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Early Modern England ◽  
Social Violence ◽  
The Arts ◽  
The Press

‘Wee be black as Hell’: Ritual, Disguise and Rebellion

Rural History ◽  
1993 ◽  
Vol 4 (1) ◽  
pp. 41-53 ◽  
Author(s):  
Alun Howkins ◽  
Linda Merricks
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Cultural Studies ◽  
Early Modern ◽  
Cultural Anthropology ◽  
Pierre Bourdieu ◽  
Moral Economy ◽  
Early Modern England ◽  
Economic Order ◽  
Random Event

This essay began from a continuity, or perhaps a persistence. Working as historians and cultural critics in very different periods, early modern England and the nineteenth-century countryside, we have both been struck for some years by continuities of behaviour in situations of riot or disorder. At one level this was first pointed to in the work of E.P. Thompson and George Rude in relation to eighteenth-century riot. Both these writers argued that far from riot being a spontaneous, anarchic and random event it was nearly always structured and organised. Thompson in particular introduced, through the notion of ‘moral economy’, the idea that rioters shared ideas about ‘right’ which Were related to an earlier customary social and economic order. From a very different, but equally important perspective, we have both been profoundly influenced by the flowering of cultural studies associated with the work of Mikhail Bahktin, and cultural anthropology growing from the work of Victor Turner and Pierre Bourdieu. In these Writers we found arguments about boundaries and structures which were both erected and transgressed by rituals of various kinds. Finally, a very few historians working on riot and popular disorder have been struck by the same continuity, notably, Michael Beames in his study of Whiteboyism, and very recently, Andrew Charlesworth in the Pages of this journal. This brief essay will seek to illuminate our notion of continuity, using some of these ideas. It is offered not as a definitive piece, but rather as an interpretation of some of these materials.

AN OPEN ELITE: THE PECULIARITIES OF CONNOISSEURSHIP IN EARLY MODERN ENGLAND

2004 ◽  
Vol 1 (2) ◽  
pp. 151-183 ◽  
Author(s):  
BRIAN COWAN
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
Visual Arts ◽  
Royal Society ◽  
Royal Academy ◽  
Early Modern England ◽  
Modern Approach ◽  
The Arts ◽  
The Social

Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it.

‘Conscientious Attention to Publick and Family Worship of God’: Religious Practice in Eighteenth-Century English Households

2014 ◽  
Vol 50 ◽  
pp. 307-317
Author(s):  
W. M. Jacob
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Early Modern ◽  
Economic Activity ◽  
Religious Life ◽  
Religious Practice ◽  
Early Modern England ◽  
Family Worship ◽  
The Past ◽  
Devotional Life

Households were the basic units of society in England until well into the nineteenth century, providing the focus of much economic activity, as well as education and, as this essay will argue, religious and devotional life. Recent research has revealed the centrality of religious life in the home in early modern England, but the extensive research about eighteenth-century households over the past fifteen years has seldom made reference to the place and practice of religion in the domestic context. This essay, focusing on the corporate religious life of Anglican households rather than on the piety and devotions of individuals, suggests that religion remained at the heart of the home and family lives of Anglican laypeople throughout the period. It was not rediscovered by Evangelicals, nor was it a distinguishing feature of evangelical households, but was a continuing element throughout the period.

scholarly journals DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850

2015 ◽  
Vol 58 (4) ◽  
pp. 987-1008 ◽  
Author(s):  
DAVID KENNERLEY
Keyword(s):  
Nineteenth Century ◽  
British Society ◽  
Major Theme ◽  
The Arts ◽  
The Press ◽  
New Ideas ◽  
Female Singers ◽  
British Press ◽  
And Gender ◽  
Mainstream Press

AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.

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