NILS H. ROEMER. Jewish Scholarship and Culture in Nineteenth-Century Germany: Between History and Faith. (Studies in German Jewish and Cultural History and Literature.) Madison: University of Wisconsin Press. 2005. Pp. x, 251. $60.00

2007 ◽  
Vol 112 (1) ◽  
pp. 294-294
Author(s):  
D. P. Bell
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
University Of Wisconsin ◽  
History And Literature ◽  
German Jewish

Our Mutual Friend

2018 ◽  
pp. 284-298
Author(s):  
Ian Duncan
Keyword(s):  
Nineteenth Century ◽  
Popular Culture ◽  
Cultural History ◽  
Fairy Tales ◽  
Formal Schooling ◽  
Our Mutual Friend ◽  
Savage Mind ◽  
Mutual Friend

This chapter situates Our Mutual Friend at the intersection of nineteenth-century projects of culture: the antiquarian, pedagogical, and anthropological. Silas Wegg and the doll’s dressmaker, Jenny Wren, represent competing versions of the novel’s imaginative sources in popular culture, attached to successive historical stages. Wegg is a corrupt avatar of the Romantic ballad revival, with its commitments to antiquarian nationalism and a degenerationist cultural history. Jenny personifies a communal heritage of folktales, fairy tales, and nursery rhymes, absorbed organically in childhood, anticipating the anthropological claim on these materials, in the decades after Dickens’s death, as relics of a universal ‘savage mind’. Our Mutual Friend resists both programmes, the anthropological as well as the antiquarian, in counterpoint to its well-studied critique of the acquisition of culture through formal schooling.

scholarly journals Skin, Clothing, and Dwelling

2016 ◽  
Vol 75 (3) ◽  
pp. 281-298 ◽  
Author(s):  
Didem Ekici
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Environmental Performance ◽  
High Performance ◽  
Architectural History ◽  
Architectural Theory ◽  
And Linguistics ◽  
Century Science

Gottfried Semper is often credited with originating the concept of the building as skin in architectural theory, but an alternative trajectory of this idea can be found in the mid-nineteenth-century science of hygiene. In Skin, Clothing, and Dwelling: Max von Pettenkofer, the Science of Hygiene, and Breathing Walls, Didem Ekici explores the affinity of skin, clothing, and dwelling in nineteenth-century German thinking, focusing on a marginal figure in architectural history, physician Max von Pettenkofer (1818–1901), the “father of experimental hygiene.” Pettenkofer's concept of clothing and dwelling as skins influenced theories of architecture that emphasized the environmental performance of the architectural envelope. This article examines Pettenkofer's writings and contemporary works on hygiene, ethnology, Kulturgeschichte (cultural history), and linguistics that linked skin, clothing, and dwelling. From nineteenth-century “breathing walls” to today's high-performance envelopes, theories of the building as a regulating membrane are a testament to the unsung legacy of Pettenkofer and the science of hygiene.

Urban Formalism

2020 ◽  
Author(s):  
David Faflik
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Cultural History ◽  
Subjective Experience ◽  
The West ◽  
Urban Experience ◽  
Street Protest ◽  
History Of ◽  
New Form ◽  
The City

Urban Formalism radically reimagines what it meant to “read” a brave new urban world during the transformative middle decades of the nineteenth century. At a time when contemporaries in the twin capitals of modernity in the West, New York and Paris, were learning to make sense of unfamiliar surroundings, city peoples increasingly looked to the experiential patterns, or forms, from their everyday lives in an attempt to translate urban experience into something they could more easily comprehend. Urban Formalism interrogates both the risks and rewards of an interpretive practice that depended on the mutual relation between urbanism and formalism, at a moment when the subjective experience of the city had reached unprecedented levels of complexity. What did it mean to read a city sidewalk as if it were a literary form, like a poem? On what basis might the material form of a burning block of buildings be received as a pleasurable spectacle? How closely aligned were the ideology and choreography of the political form of a revolutionary street protest? And what were the implications of conceiving of the city’s exciting dynamism in the static visual form of a photographic composition? These are the questions that Urban Formalism asks and begins to answer, with the aim of proposing a revisionist semantics of the city. This book not only provides an original cultural history of forms. It posits a new form of urban history, comprised of the representative rituals of interpretation that have helped give meaningful shape to metropolitan life.

Black Diasporic Gothic

2019 ◽  
pp. 289-303
Author(s):  
Maisha Wester
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
African Diaspora ◽  
Black Writers ◽  
Knowledge Systems ◽  
First Century ◽  
The Real ◽  
Twenty First Century

Black Diasporic Gothic can trace its origins back to the nineteenth century at the height of the Gothic’s appearance, when many black writers began to appropriate the genre to describe the real horrors of existence within racially oppressive and enslaving societies. However, many twenty-first-century Black Gothic texts suggest that modifying traditional Gothic monsters is not enough to create subversive work.Rather modern texts such as Jeremy Love’s Baypu (2009-10), Helen Oyeyimi’sWhite is for Witching (2009) and Jordan Peele’s Get Out (2017) force Western readers out of their region and tradition entirely by introducing monsters from the African Diaspora, creatures recording the horror of physical and cultural theft even as they demand recognition of a pre-encounter cultural history. In each text, marginalised characters are able to recognise, define and combat monstrous assailants primarily because they exist outside of dominant ideological systems. Thus twenty-first century Black Gothic texts posit the existence of radically alternative, and ultimately liberating, knowledge systems within marginalised locations.

The Folk Song Project at the Confluence of Music and Nationalism

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Nineteenth Century ◽  
South America ◽  
Cultural History ◽  
Intellectual History ◽  
English Translation ◽  
Paradigm Shift ◽  
Folk Songs ◽  
Folk Song ◽  
World Music ◽  
Musical Thought

Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.

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