Carl Maria von Weber

Music ◽  
2019 ◽  
Author(s):  
Joseph E. Morgan
Keyword(s):  
Chamber Music ◽  
19Th Century ◽  
Classical Music ◽  
Wolfgang Amadeus Mozart ◽  
Piano Sonatas ◽  
Late 20Th Century ◽  
German Art ◽  
Art And Culture ◽  
Carl Maria Von Weber ◽  
The 19Th Century

With a career that began at the end of the Napoleonic Wars, just as a concept of a unified German identity was emerging, Carl Maria von Weber (b. 1786–d. 1826) earned a great deal of fame writing songs for soldiers and students. Since then, Weber’s three late operas, and specifically his Der Freischütz (1821), have long been recognized as central to a narrative surrounding the emergence of a German operatic style. Indeed, Richard Wagner recognized Weber’s influence in his own writings, and later, the hyper-nationalistic elements of Germany laid great credence to that influence in their conception of a culturally superior German art and culture. However, in the late 20th century, critics started to isolate and study the aspects of Weber’s style that he had borrowed from foreign cultures. One particularly striking example is Weber’s adoption of the traditional formal conventions of the Italian Scena (Basevi’s la solita forma) in the 19th century. Despite Weber’s own overt statements against the Italian style, scholars have noted the clear influence of Italian opera on his works. Similarly, many of the very elements that would be cited as prototypically German in Weber’s works—the systems of thematic reference and motivic organization, the greater role of the orchestra in the texture, and the greater demands placed on the singer in terms of volume—are all increasingly cited as French in origin. Thus, the historical understanding of who Weber was and the character of his nationalist identity remains in flux, and Der Freischütz, Euryanthe, and Oberon retain a place in the operatic repertoire. On the other hand, Weber’s prominence as a musician and composer of symphonies, chamber music, and German Art songs has undergone a different path of study. As an early Romantic composer of piano sonatas, linking the delicate ornamentation of Frédéric Chopin (b. 1810–d. 1849) with the Viennese classicism of Wolfgang Amadeus Mozart (b. 1756–d. 1791), Weber has maintained his position on the edge of the mainstream repertoire in this genre, too. His compositions for clarinet as well as his bassoon and horn concertos also remain important parts of those instruments’ repertoires. Yet perhaps his biggest exposure results from the performance of his operatic overtures on the concert stage. In all, looking at individual genres, Weber’s impact is easy to underestimate, but taken as a whole, as an accomplished composer, pianist, conductor, and writer, his works and career made a tremendous impact on classical music in the 19th century.

Abortion and Infanticide

2021 ◽  
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Latin American ◽  
Medical Knowledge ◽  
Criminal Trials ◽  
Late 20Th Century ◽  
Colonial Era ◽  
Public Defense ◽  
19Th And 20Th Century ◽  
The 19Th Century

The history of infanticide and abortion in Latin America has garnered increasing attention in the past two decades. Particularities of topic and temporal focus characterize this work and shape this bibliography’s geographic organization. Mexico possesses the most developed scholarship in both the colonial and modern periods. There, tracing of the persistence of pre-Conquest Indigenous medical knowledge and the endurance of paraprofessional obstetrical practitioners through the colonial era and into the 19th century features prominently and echoes some of the scholarship examining European midwives’ administration of plant-based abortifacients in the medieval and Early Modern eras. This topic plays a role, but a much less prominent one in scholarship on Colombia, Peru, and Brazil. Scholars of Brazil, the Caribbean, and circum-Caribbean have focused in particular on the issue of enslaved mothers’ commission of infanticide and abortion on their own children in the 18th and 19th centuries, a particularly fraught issue in the context of the abolition of the slave trade. A central assumption in much scholarship on the 19th-century professionalization (and masculinization) of obstetrical medicine is that the marginalization of midwives entailed a reduction in women’s access to abortion, although this position has been challenged in some recent scholarship on 19th-century Mexico in particular. The examination of the ways that the new republics perceived the crimes of infanticide and abortion in their legal codes, judicial processes, and in community attitudes is a central focus of 19th- and 20th-century scholarship. Scholars have remarked upon the considerable uniformity across all regions of a paucity of denunciations or convictions in the first half of the 19th century and the rise of criminal trials for both crimes in its last three decades. This change coincided (although no one has argued been provoked by) many countries’ issuance of national penal codes in the 1870s and 1880s. This intensification of persecution also coincided with the Catholic church’s articulation of an explicit condemnation of abortion (Pius IX’s 1869 bull Apostolicae Sedis), although demonstrating the concrete implications of this decree to the Latin American setting remains a task yet to be undertaken. Historians of both abortion and infanticide have also concentrated on defendant motives and defenses in criminal investigations. While some highlight defendants’ economic desperation, most scholars argue that the public defense of female sexual honor was a crucial motivator, which courts understood as a legitimate concern in 19th- and even mid-20th-century trials. Scholarship on 20th-century infanticide and abortion history continues to concentrate on fluctuations in attitudes toward honor, gender, and the family as influences on criminal codes and especially judicial sentencing for both acts, and toward the late 20th century on feminist efforts to decriminalize abortion that have met with varied success across countries.

Integrating Digital Epigraphies (or, if you think the 19th century was bad, try living in the 20th)

2015 ◽  
Author(s):  
Joshua D. Sosin
Keyword(s):  
19Th Century ◽  
Identification System ◽  
Significant Suppression ◽  
Late 20Th Century ◽  
Digital Resources ◽  
Print Publication ◽  
Semantic Richness ◽  
Rich Variety ◽  
Greek Epigraphy ◽  
The 19Th Century

IDEs aims to provide core infrastructure for the field of Greek epigraphy (the study of texts carved on stone), by supporting annotation across an array of disparate digital resources. Epigraphy was born in the early to mid 19th century and has been productive ever since. Perhaps a million Latin and Greek inscriptions are known today. These objects are often badly preserved, physically removed from their original context or even lost; many are repeatedly re-published, emended, joined to other fragments, re-dated, re-provenanced, and not only do they lack a single unambiguous identification system, but many thousands are known by multiple, competing and badly controlled bibliographic shorthands. They are unstable in many senses. Print publication of inscriptions in the late 19th century and throughout the 20th is marked by a considerable and fulsome descriptive rigor. In the generation straddling the 20th and 21st centuries, scholars developed a rich variety digital epigraphy tools. But in all cases these were descendants of previous print resources and entailed significant suppression of the semantic richness that was the (albeit loosely controlled) norm in print publication. In a way, then, much of our effort is devoted to creating a framework for allowing users to re-infuse a suite of late 20th-century tools with the 19th-century scholarly sensibility (and even the very data!) that long informed print epigraphy.

scholarly journals Сult and Critique of Raphael in the Late Nazarene Movement

2021 ◽  
pp. 184-197
Author(s):  
L.V. Frolova ◽  
Keyword(s):  
19Th Century ◽  
Art Criticism ◽  
Emotional Expressiveness ◽  
The Arts ◽  
Art Works ◽  
Religious Paintings ◽  
German Art ◽  
The Subject ◽  
The 19Th Century ◽  
Art School

The cult of Raphael is an important part of German romantic culture of the beginning of the 19th century. There were the Nazarenes who developed the cult of the Renaissance genius, and Raphael’s modern reputation is based on these romantic tradition. The article reveals special features of late romantic cult of Raphael, which caused the critique of the Italian master in the second half of the 19th — 20th centuries. The article discusses the art works of the Nazarenes (Franz Pforr, Peter von Cornelius, Franz and Johann Christian Riepenhausen). Special attention was paid to the art works and texts of the founder of Nazarene movement J.F. Overbeck of the 1830–1840s. This material was compared with the German art criticism of the same years, dedicated to the Düsseldorf Academy, an art school considerably influenced by the Nazarenes (A. Fahne, H. Püttmann). Typical for the Nazarene movement is the cult of Raphael as the main Christian painter, whose art is characterized as pure and harmonious. Other features of Raphael’s works, such as dynamic and emotional expressiveness of the form, were ignored or criticized. Such approach was firstly used in the J.F. Overbeck’s comment to the program painting The Triumph of Religion in the Arts (1829–1840) and developed in his later works (The Marriage of the Virgin, 1834–1836; The Lamentation, 1840–1845). This simplified image of Raphael became the subject of criticism for the next authors’ generation who supported the realistic searches of the masters of the mid-19th century. Nevertheless, Raphael’s works continued to be used as a standard for discussing of modern religious paintings.

Matriarchal Studies

Anthropology ◽  
2015 ◽  
Author(s):  
Barbara Alice Mann ◽  
Heide Goettner-Abendroth
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Culture Shock ◽  
Peace Building ◽  
Late 20Th Century ◽  
Gender Egalitarianism ◽  
Gift Economy ◽  
Egalitarian Society ◽  
Definition Of ◽  
The 19Th Century

Evidence of matriarchy had always existed in Western chronicles, albeit scattered or hidden amid other ethnographic tidbits, all of them filtered heavily through the androcentric lens of Christian missionaries or European travelers. Most of these old European sources were either puzzled or horrified by women-led cultures, having had nothing to attach them to but scary stories from Herodotus about the ferocious Amazons as “men-slayers” or the Christian theological depictions of sinful Eve, resulting in the “burning times” (witch hunts). Moving out from Europe in the 15th and 16th centuries, especially into Africa and the Americas, home to many matriarchal cultures, was very unsettling to the patriarchal paradigm of Europe. Until quite recently, this culture shock combined with colonialism to ensure that scholarship on matriarchy was crafted exclusively by elite, Western scholars, nearly all of them male and coming from nothing remotely resembling a matriarchal culture. Scholars in the 19th century were all infiltrated by the unilinear, universal evolution theory, as a part of European American colonialism, sporting racist and sexist roots. These disabilities distorted comprehension of the matriarchal form of society, allowing Western scholars either to dismiss it outright as a fantasy or to portray it crudely, as a wicked, Amazonian domination of men. This background left enduring marks on the scholarship around matriarchy until new interest was piqued among German and American scholars in the 19th century, moving thought from the Amazonian conception to the definition of matriarchy as a “mother right.” These scholars remained mired, however, in the racist and sexist premises of European colonialism, well into the 20th century. As colonial Eurocentrism lifted in the mid- to late 20th century, scholars from non-Western, matriarchal cultures worldwide began chiming in on the conversation, in order to revamp old ideas together with Western female scholars. The “maternal values” in matriarchal studies do not indicate Western sentimentalism, but principles formulated by Indigenous, matriarchal societies themselves, in their sayings (e.g., Minangkabau) and in their social rules (e.g., Iroquois), based on the prototype of Mother Nature, as conceptualized in mythology, proverbs, songs, etc. Collating all the evidence of non-Western and Western 21st-century scholarship, matriarchy is here defined as mother-centered societies, based on maternal values: equality, consensus finding, gift giving, and peace building by negotiations. Gift economies, defined by modern matriarchal studies as a transitive relation in closed communities, is a core concept of all matriarchies. The result is a gender-egalitarian society, in which each gender has its own sphere of power and action. All these societies are characterized by matrilinearity, matrilocality, and women as keepers of the land and distributors of food, based on a structured gift economy. As derived from inductive studies of singular matriarchal societies and in collaboration with Indigenous scholars writing on their own communities, the current definition of matriarchy is a mother-centered, gender-egalitarian society that practices the gift economy. Modern matriarchal studies primarily assesses the patterns of those cultures, past and present, in their unique displays of gender egalitarianism and generally social egalitarianism.

Latin American Jewish Literature

2012 ◽  
Author(s):  
Ilan Stavans
Keyword(s):  
Latin America ◽  
20Th Century ◽  
19Th Century ◽  
Latin American ◽  
Religious Identity ◽  
Jewish History ◽  
Literary Tradition ◽  
Late 20Th Century ◽  
American Jewish ◽  
The 19Th Century

Jewish writing in Latin America is a centuries-old tradition dating back to the arrival of Christopher Columbus in the Americas. During the colonial period, it manifested itself among crypto-Jews who hid their religious identity for fear of being persecuted by the Holy Office of the Inquisition. Assimilation mostly decimated this chapter, which is often seen as connected with Sephardic literature after the expulsion of Jews from Spain in 1492. New waves of Jews arrived in the last third of the 19th century from two geographic locations: the Ottoman Empire (this wave is described as Levantine and its languages as Ladino, French, Spanish, and Arabic) and eastern Europe (or Ashkenazi with Yiddish, German, and central European tongues). Jewish life thrived in Latin America throughout the 20th century. The largest, most artistically productive communities were in Argentina, Brazil, Cuba, and Mexico, and smaller ones existed in Venezuela, Colombia, Peru, Guatemala, Panama, and Uruguay. Identity as a theme permeates everything written by Latin American Jewish writers. Central issues defining this literary tradition are immigration, anti-Semitism, World War II, Zionism, and the Middle Eastern conflict. The Jewish literary tradition in Latin America has undergone crossovers as a result of translations, global marketing, and the polyglot nature of several of its practitioners. This field of study is still in its infancy. Some important studies on Latin American Jewish history, either continental in scope or by country, appeared in the late 20th century and serve as context for the analysis. The literature has received less attention (some periods, such as the 19th century, are entirely forgotten), although, as this article attests, things are changing. The foundation for daring, in-depth literary explorations as well as interdisciplinary analysis is already in place. When possible this article showcases available monographs, although important research material remains scattered in periodicals and edited volumes.

Modernism and Latin American Classical Music

2018 ◽  
Author(s):  
Eduardo Herrera
Keyword(s):  
19Th Century ◽  
Latin American ◽  
Classical Music ◽  
Urban Setting ◽  
Discursive Construction ◽  
Binary Opposition ◽  
Major Drawback ◽  
Value Judgment ◽  
The 19Th Century ◽  
The Great War

The idea of musical modernism in the Latin American classical music world was a particular aesthetically-oriented instance of a broader discourse that has been described as ‘modernist capitalist-cosmopolitan’. The general modernist discourse was centered on the binary opposition modern/traditional that naturalizes a particular notion of temporal condition with a value judgment—that which is ‘modern’ is new, recent, and more efficient, against that which is ‘traditional’ which is old, has been passed on, and is less efficient. By 1918, at the end of the Great War, the prevalent ideology of ’progress’ that was naturalized throughout industrialization in the 19th century had suffered its first major drawback. If society was progressing, how was it that Europe ended in such a wide and costly war? What was the place for artists in such conditions? Composers as diverse as Stravinsky, Schoenberg, Skryabin, and Busoni became associated with the notion of modernism. Self-proclaimed futurist artists in Italy during the 1910s like Luigi Russolo and Francesco Balilla Pratella, advocated for a music that incorporated the sounds of the industries and the ‘modem’ city. By localizing artistic production in the urban setting against the rural soundscapes, the concept of the ‘modern’ captured also space, making the rural to be associated with the idea of ‘traditional’. A final key aspect of this discursive construction of the ‘modern’ was the way in which it represented a paradigmatic shift from 19th century discourses that divided the world into ‘civilized’ and ‘primitive’ practices.

scholarly journals The triangle grid, the evolution of layered shells since the beginning of the 19th century

2021 ◽  
Vol 8 (1) ◽  
pp. 337-353
Author(s):  
Edwin Gonzalez Meza
Keyword(s):  
19Th Century ◽  
Free Form ◽  
Triangular Grid ◽  
Late 20Th Century ◽  
Early 19Th Century ◽  
Grid Systems ◽  
Technological Advances ◽  
Layered Shells ◽  
The 19Th Century ◽  
Historical Periods

Abstract This paper presents the evolution of and influence that the use of a triangular grid has had on the transformation of layered grid structures during the last two centuries. Historical facts, technological advances, economic and social crises among other factors influence the process of change and evolution of the grid systems in architecture to make construction processes more efficient by reducing the consumption of materials and qualified labor. Geometry and structure innovate styles and processes that are perfected over the years, achieving lighter and more stable structures. For the purpose of this paper historical data will be collected that allows the development of a theory that shows the influence of various periods based on technological advances. This research shows four historical periods in the evolution of layered grid structures. Being the triangular grid a widely used methodology in the construction of a diversity of geometric proposals and innovative construction systems for the solution of a diversity of buildings from the first domes built in the early 19th century to the free-form structures built from the late 20th century to the present day.

scholarly journals Music critic Gustav Michel

Muzikologija ◽  
2004 ◽  
pp. 167-195 ◽  
Author(s):  
Aleksandar Vasic
Keyword(s):  
Chamber Music ◽  
19Th Century ◽  
String Quartet ◽  
Modern Music ◽  
Vocal Technique ◽  
Daily Newspapers ◽  
National Theatre ◽  
Literary Magazine ◽  
History Of ◽  
The 19Th Century

The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926), one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation) Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvo?zak). These musicians had performed public concerts in Belgrade since 1900 up until Michel?s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red), Folk Newspaper (Narodne novine) and Serbian Literary Magazine (Srpski knjizevni glasnik) have been found. Michel?s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel?s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not oppose the National Theatre administrations when they decided to add operettas to its repertoire. Here he also differs from expert critics, for example Miloje Milojevic or Petar Krstic - who led a real crusade against operetta. Michel paid scrupulous attention to correct diction, as an important part of the vocal technique. As a critic, Gustav Michel was inclined to relatively modern music. He was not strict in his judgments of Serbian performers? and composers? achievements; he always took account of very difficult conditions under which the Serbian people, after many centuries of the Turkish occupation, started its cultural and musical emancipation in the 19th century. (He was especially considerate towards novice musicians) However his critical assessment of the genre status of the overture to the first Serbian opera, "Na uranku" ("At Dawn") by Stanislav Binicki, revealed an incisive critic. The weak side of his critic lies in too general language not exact enough for characteristics of musical interpretations. However Gustav Michel was a witty and ironic writer, and his few articles marked the beginning of an expert and modern music critic in Serbia.

Malacca Creole Portuguese in the 19th century

2018 ◽  
Vol 33 (2) ◽  
pp. 247-279 ◽  
Author(s):  
Alan N. Baxter
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Late 20Th Century ◽  
Linguistic Data ◽  
Linguistic Research ◽  
The 19Th Century

Abstract Earlier linguistic research suggested that Malacca Creole Portuguese (MCP) had existed without diglossia with Portuguese ever since the Dutch conquest of Portuguese Malacca in 1642, yet it had experienced some contact with Portuguese in the 19th and 20th centuries. The present study adds significantly to this discussion. It considers a range of information from sociohistorical studies and archival sources (including linguistic data) relating to the Dutch (1642–1795, 1818–1823) and early British (1795–1818, 1823–1884) colonial periods. For the Dutch period, it is seen that contact with other Creole Portuguese communities is likely to have persisted for some time. Most significant, however, is the finding that 19th century texts in Portuguese and creole Portuguese, recently identified in archival sources in London and Graz, show that Portuguese continued to be part of the Malacca sociolinguistic setting until the early British period, and that missionary Indo-Portuguese also had a presence at that time. It is concluded that, rather than presenting a narrow lectal range akin to that of the MCP community in the late 20th century, the creole lectal grid in the 19th century was more complex, and included dimensions of a continuum in a diglossic relationship with Portuguese.

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