Imagining Methodism in 18th-century Britain: Enthusiasm, Belief & the Borders of the Self. Misty G. Anderson.

2014 ◽  
Vol 45 (4) ◽  
pp. 359-359
Author(s):  
Stuart Andrews
Keyword(s):  
18Th Century ◽  
The Self

scholarly journals MAKYUNG AS AN OLDEST FORM OF MALAY TRADITIONAL DANCE THEATRE IN SOUTHEAST ASIA

2019 ◽  
Vol 2 (1) ◽  
pp. 27-35
Author(s):  
Rosdeen Suboh
Keyword(s):  
Southeast Asia ◽  
18Th Century ◽  
The Self ◽  
Oral Traditions ◽  
Historical Records ◽  
Dance Theater ◽  
Exact Date ◽  
Archaeological Materials ◽  
Almost All ◽  
Performance Structure

Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only depending the sources of writing, material evident or archaeological materials. Consequently, this article offers that Makyung is the oldest dance theatre in Southeast Asia through the analysis of previous historical records, studies and opinions about stories and elements in the performance structure.

The History of Science as European Self-Portraiture

2006 ◽  
Vol 14 (4) ◽  
pp. 523-536 ◽  
Author(s):  
LORRAINE DASTON
Keyword(s):  
History Of Science ◽  
Scientific Revolution ◽  
18Th Century ◽  
World History ◽  
The Self ◽  
Self Image ◽  
The Enlightenment ◽  
History Of

Since the Enlightenment, the history of science has been enlisted to show the unity and distinctiveness of Europe. This paper, written on the occasion of the award of the 2005 Erasmus Prize to historians of science Simon Schaffer and Steven Shapin, traces the intertwined narratives of the history of science and European modernity from the 18th century to the present. Whether understood as triumph or tragedy (and there have been eloquent proponents of both views), the Scientific Revolution has been portrayed as Europe's decisive break with tradition – the first such break in world history and the model for all subsequent epics of modernization in other cultures. The paper concludes with reflections on how a new history of science, exemplified in the work of Shapin and Schaffer, may transform the self-image of Europe and conceptions of truth itself.

scholarly journals Outobiografie as hermeneutiek van die self: Van Rousseau tot Le Clézio

Literator ◽  
2015 ◽  
Vol 36 (1) ◽  
Author(s):  
Elisabeth Snyman
Keyword(s):  
18Th Century ◽  
The Self ◽  
The Other ◽  
Ken Bugul ◽  
Marguerite Yourcenar ◽  
Autobiographical Texts ◽  
Intercultural Encounters ◽  
Individual Existence ◽  
The Individual ◽  
Historical Model

Autobiography as hermeneutics of the self, from Rousseau to Le Clézio. This article investigates the hypothesis that autobiography can be regarded as a type of hermeneutics of the self. In order to achieve this, a selection of French autobiographical texts was analysed. As this study is a reworked version of an inaugural lecture, it presents an overview rather than a detailed analysis of the theories or the texts it refers to. Jean-Jacques Rousseau’s Confessions, generally regarded as a cornerstone of modern autobiography, was used as a point of departure for the interpretation of operations of understanding at work in autobiographical texts. The article demonstrates how the writers of the rest of the corpus of texts question Rousseau’s historical model in different ways according to more recent concepts of the self. Thus it is argued that George Perec replaces the historical model of understanding with an approach based on deciphering signs from the past; that Nathalie Sarraute combines the New Novel’s concept of the divided subject with that of tropismes in order to give a truthful representation of her childhood; and that Roland Barthes problematises the notion of language as a medium of expression of subjectivity in his ‘anti-outobiography’. This study furthermore demonstrates how Marguerite Yourcenar breaks with the anthropomorphism associated with humanism to pave the way for the realisation that the presence of the Other profoundly determines the understanding of the self. Finally, the ethics of dealing with the Other in intercultural encounters, as recorded in Ken Bugul and Jean-Marie Le Clézio’s autobiographies, is examined. The article shows how, from the 18th century onwards, literary and philosophical trends influenced the act of understanding and interpreting the individual existence and hence the nature of autobiography.

scholarly journals Los paisajes de la sal y la música Española = The landscapes of salt and Spanish music

2020 ◽  
pp. 35
Author(s):  
Faustino Núñez
Keyword(s):  
18Th Century ◽  
Traditional Music ◽  
The Self ◽  
Self Confidence ◽  
Spanish Music ◽  
Musical Elements

RESUMEN:Si los italianos son dulces, los españoles somos salaos. La sal como analogía de una idiosincrasia que mezcla lo exótico con el desparpajo propio de los hispanos. En contraposición a la delicadeza del europeo el temperamento español. Aunque sea considerado un tópico, en nuestra música queda reflejado a la perfección ese carácter. La música española es extrovertida, abierta, simpática, sociables, cordial, salada. En los géneros inspirados en la música tradicional más que en aquellos cultivos en la música académica se aprecia ese carácter, y entre ellos, y ahí vamos a centrar nuestra exposición, en las tonadillas, sainetes y entremeses de la segunda mitad del siglo XVIII y en nuestro género más internacional, el flamenco. En esta ponencia repasamos aquellos momentos en los que la sal es protagonista y, en la medida de lo posible, expondremos los elementos musicales que podemos considerar salados en los géneros mencionados. Estos contenidos han sido recopilados en los últimos años a través de la investigación en los archivos y bibliotecas que contienen las partituras de estas obras, así como el análisis de los estilos flamencos. ABSTRACT:If the Italians are sweet, the Spaniards are salty (salaos). Salt as an analogy of an idiosyncrasy that mixes the exotic with the self-confidence of Hispanics. In contrast to the delicacy of the European, the Spanish temperament. Although it is considered a topic, in our music that character is perfectly reflected. Spanish music is outgoing, open, friendly, sociable, friendly, salty. In the genres inspired by traditional music more than in those crops in academic music, that character is appreciated, and between them. And there we will focus our exhibition, on the tonadillas, saleros and hors d'oeuvres of the second half of the 18th century and on our most international genre, flamenco. In this paper, we review those moments in which salt is the protagonist and, as far as possible, we will present the musical elements that we can consider salty in the aforementioned genres. These contents have been compiled in recent years through research in the archives and libraries that contain the scores of these works, as well as the analysis of flamenco styles. 

scholarly journals Art nouveau period: borders and concepts

2021 ◽  
Vol 1 (1) ◽  
pp. 33-41
Author(s):  
Alexander V. Belobratov
Keyword(s):  
18Th Century ◽  
The Self ◽  
Art Nouveau ◽  
Avant Garde ◽  
Political Interaction ◽  
The Future ◽  
Utilitarian Approach ◽  
The Aesthetic ◽  
Definition Of ◽  
Extended Interpretation

The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.

scholarly journals A wardrobe suitable for a virtuous pauper

2019 ◽  
Vol 11 (1) ◽  
pp. 315-325
Author(s):  
Katarina Marinčič
Keyword(s):  
Young Woman ◽  
18Th Century ◽  
The Self ◽  
Happy Ending ◽  
The Gift ◽  
The Subject

The subject of this paper is not the influence of Pierre de Marivaux's La Vie de Marianne upon Samuel Richardson's Pamela (a question that has been widely discussed since the 18th century). In spite of some obvious similarities, La Vie de Marianne and Pamela are two profoundly dissimilar novels. Pamela is a tale with a happy ending and a clear moral message. La vie de Marianne is an unfinished tale and, as such, morally ambiguous by its very nature. However, at crucial moments of their stories, confronted with the first attempts upon their virtue, both heroines react in accordance with their sense of propriety in clothing as well as with an acute fashion sense. In both novels, the seducer tries to lure his victim with clothes. Upon receiving the gift, both girls display a naive and joyful gratitude. Their dilemma begins when the gift of clothing turns out to be a gift of lingerie. The self-indulgent French heroine, after a short reflection, decides to keep the clothes. Pamela turns out to be a much more modern young woman. She returns the gift and – in a seemingly paradoxical way – puts herself in need of a new set of clothes.

scholarly journals Do sonho ao pesadelo: a pedagogia da autonomia sob suspeita

2019 ◽  
Vol 89 (223) ◽  
Author(s):  
Manuel Barbosa
Keyword(s):  
Present Article ◽  
18Th Century ◽  
The Self ◽  
Pedagogical Change ◽  
The One ◽  
Constitutive Principles

O discurso pedagógico em torno da autonomia não é uma invenção recente, antes se prolonga nos anais da história, pelo menos a meados do século XVIII, altura em que se começaram a vislumbrar os princípios constitutivos de uma pedagogia da autonomia. Recentemente, e numa conjuntura que "obriga" as pessoas a serem autónomas, que as torna responsáveis por todos os aspectos das suas vidas, tenham ou não condições e recursos para os controlarem, esse discurso passou a ocupar um lugar de destaque nas reformas educativas, de tal modo que é hoje considerado uma nova ortodoxia da mudança pedagógica. O presente artigo arranca desta constatação e questiona se a pedagogia da autonomia não está ferida por uma série de suspeições que lhe retiram credibilidade, nomeadamente a que a associa à promoção do ideário neoliberal de indivíduo auto-suficiente. A terminar, perguntamos se ainda há lugar para a pedagogia da autonomia, não obstante as dúvidas e as perplexidades que levanta. A resposta é positiva e passa pela definição, não apenas da meta actual dessa pedagogia, o empowerment, mas também pelos princípios que a devem reger numa démarche de projectos educativos, assim como pelas tarefas de mediação e animação que cabem ao educador protagonizar. Palavras-chave: Pedagogia, Autonomia, Dúvidas e Perplexidades, Perspectivas Actuais Abstract: The pedagogical speech around the autonomy is not a recent invention; it is drawn out in the annals of history, at least since the middle of the 18th century, when it started to glimpse the constitutive principles of a pedagogy of autonomy. Recently, in a conjuncture that "compels" people to be autonomous, that makes them responsible for all the aspects of their lives, whether they have or not the conditions and resources to control them, that speech started to occupy a place of prominence in the educative reforms, in such a way that, nowadays, it is considered a new orthodoxy of the pedagogical change. The present article has its beginning in this perception and it questions if the pedagogy of autonomy is not wounded by a series of suspicions that remove its credibility, namely the one that associates it to the promotion of the neoliberal collection of ideas of the self-sufficient individual. To finish, we ask if there is still a place for the pedagogy of autonomy, notwithstanding the doubts and the perplexities that raise. The reply is positive and it passes for the definition, not only of the current goal of this pedagogy, the “empowerment”, but also for the principles that should conduct it in a démarche of educative projects, as well as for the mediation and animation tasks that the educator must carry out. Keyword: Pedagogy, Autonomy, Doubts and Perplexities, Actual Perspectives

scholarly journals The Culture of the XVIIIth Century and the Return to the Human Being

2018 ◽  
Vol 10 (4) ◽  
pp. 90-102
Author(s):  
Gleb K Pondopulo
Keyword(s):  
Immanuel Kant ◽  
18Th Century ◽  
The Self ◽  
Creative Work ◽  
Human Being ◽  
Johann Gottfried Herder ◽  
Giambattista Vico ◽  
Cultural Process ◽  
The Subject ◽  
Definition Of

Analyzing the works of Giambattista Vico, Jean-Jacques Rousseau, Johann Gottfried Herder and Immanuel Kant, the article searches into the typological peculiarities of the 18th century culture, shows a fundamental refocusing of the whole cultural process from the cosmological idea to the anthropological one, gives the humanist reasons of culture and the definition of its personalized form, reveals the self-identification of a human being not as the object but the subject of learning and creative work.

scholarly journals English drama at the German theatre in Ljubljana in the last decades of the Habsburg monarchy

2012 ◽  
Vol 45 (1-2) ◽  
pp. 33-52
Author(s):  
Margarete Rubik
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
The Self ◽  
English Drama ◽  
Habsburg Monarchy ◽  
Late 19Th Century ◽  
Self Image ◽  
Late 18Th Century ◽  
German Newspaper ◽  
English Culture

This article examines the English repertoire of the German theatre in Ljubljana in the last decades of the Habsburg monarchy and its reception by the local German newspaper, Laibacher Zeitung. It considers only drama, not operas or operettas. The English plays were, of course, performed in translation, in German, as opposed to the plays performed in the Slovenian language from the late 18th century on and especially within the Dramatično društvo circle established in 1867. The choice of performances gives interesting insights into the late 19th century attitude towards English culture as well as the self-image fostered by the German stage in Ljubljana.

scholarly journals Pepys reading: passion for books in an English man’s diary of the 17th century

2021 ◽  
pp. 188-242
Author(s):  
Anna Stogova
Keyword(s):  
Early Modern ◽  
18Th Century ◽  
17Th Century ◽  
Considerable Effect ◽  
The Self ◽  
Ideal Model ◽  
Self Image ◽  
Social Prestige ◽  
Under Construction ◽  
Traditional Image

The article touches upon the Early Modern practices of reading, which are subject of much debate in contemporary scholarship. The traditional image of man’s reading before the 18th century implied serious approach to books and the use of information found there for self-education, self-edification, and acquisition of social prestige. The analysis of the diary by Samuel Papys (1660-1669), a Navy Office clerk, demonstrates that this ideal model did not have considerable effect on representations of the experience of reading in texts that constructed a “story of self”. Not only the practices of reading varied greatly, but the category chosen by Pepys to define this experience was the category of pleasure directly linked to the “self-image” under construction.

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