The Nineteenth and Early Twentieth Centuries

2017 ◽  
Author(s):  
Ellen T. Harris
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Royal College ◽  
Royal Academy ◽  
Reception History ◽  
Musical Composition ◽  
Modern History ◽  
Performance History ◽  
History Of ◽  
Musical Renaissance

The performance history of Dido and Aeneas in the nineteenth century is marked by two, seemingly conflicting, trends: attempts to create a more authentic score and the increased use of added orchestration. Many of the most important contributions to the reception history of the opera in this era, including new editions and major revivals, can be attributed to the faculties at the Royal Academy of Music and the Royal College of Music. The founding of the Purcell Society by William Cummings, his biography of the composer, and his edition of the opera mark a watershed in the modern history of the opera. Within the so-called “English Musical Renaissance” of musical composition, Dido and Aeneas became a stylistic touchstone to which composers through the mid-twentieth century returned.

scholarly journals The Moor’s Political Colour: Race and Othello in Poland

2020 ◽  
Vol 22 (37) ◽  
pp. 171-190
Author(s):  
Anna Kowalcze-Pawlik
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Reception History ◽  
Social Contexts ◽  
Racial Stereotypes ◽  
Skin Colour ◽  
The Political ◽  
History Of ◽  
Stage Adaptations ◽  
The Way

This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.

“These Things Were Reported to Tiberius”

2021 ◽  
pp. 25-36
Author(s):  
David Lloyd Dusenbury
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Reception History ◽  
Old Russian ◽  
Early Twentieth Century ◽  
Death Of Jesus ◽  
History Of ◽  
Holy City

In the late 1920s an Austrian historian of religion, Robert Eisler, introduced a riveting new theory about the trial and death of Jesus. On the strength of a dossier of Old Russian manuscripts, Eisler became convinced that Jesus went to Jerusalem shortly before his death with a cohort of “secretly armed” disciples. Once in the holy city, Eisler conjectured, Jesus and his cohort of fighters must have gained control of “the strongly fortified Temple”. It is this action which must have led to Jesus’ arrest and death. Eisler’s most momentous claim, however, is that Pilate’s notes on Jesus’ trial were rediscovered the nineteenth century and published in the early twentieth century. This chapter examines some of Eisler’s sources, and his place in the reception-history of Jesus’ Roman trial. Eisler is unique for his stress on the fascinating question of what Pilate wrote.

Forest Extraction to Theme Parks: The Modern History of Land Change

2004 ◽  
Author(s):  
Peter Klepeis
Keyword(s):  
Nineteenth Century ◽  
Land Use ◽  
Twentieth Century ◽  
Land Change ◽  
Modern History ◽  
Human Environment ◽  
Forest Clearing ◽  
Calakmul Biosphere Reserve ◽  
History Of ◽  
The 1960S

Modern-day deforestation in the southern Yucatán peninsular region began in earnest in the late 1960s. The composition of the region’s forest and options for land uses, however, were partly shaped by eighty years of activity leading up to the 1960s, just as it was by the ancient Maya over a millennium ago (Ch. 2). Most of the modern impacts began in the twentieth century and are traced here through three major episodes of use and occupation of the region: forest extraction, 1880–1983; big projects and forest clearing, 1975–82; and land-use diversification, conservation, and tourism, 1983 to the present. Each episode corresponds to different visions of how the region should be used and to different human–environment conditions shaping the kind, location, and magnitude of land change. Understanding these changing conditions underpins all other assessments of the SYPR project. The episode of forest extraction spans the bulk of the modern history of the region. It began in the late nineteenth century and ended with the demise of parastatal logging companies in the 1970s and early 1980s, due primarily to the depletion of reserves of mahogany and Spanish cedar throughout the region. Before this episode fully expired, a new one, that of big projects and forest clearing began, marked by large-scale rice and cattle schemes undertaken in the mid to late 1970s and early 1980s. This episode accelerated the road construction that began in the latter part of the 1960s, and it witnessed expanded settlement linked to colonization programs. The Mexican debt crisis of 1982 brought this episode to an abrupt halt, triggering the search for a new alternative to developing the frontier. This search, made in the context of neoliberal economic reforms, led to the establishment of the Calakmul Biosphere Reserve in 1989 and other, more recent initiatives, defining the most recent episode of land-use diversification, conservation, and tourism. From the collapse of the Classic Maya civilization to the twentieth century, the occupation of the region was sparse (Turner 1990), the forest serving as a refuge during the colonial period for those Maya fleeing Spanish domination along the coasts and in the north, especially during the Caste War of the middle nineteenth century, when the northern Maya revolted against Mexico (Jones 1989).

Don’t Forget to Say “Thank You”: Toward a Modern History of Gratitude

2020 ◽  
Vol 53 (4) ◽  
pp. 1060-1083
Author(s):  
Ruthann Clay ◽  
Peter N Stearns
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Twentieth Century ◽  
Positive Psychology ◽  
Gender Relations ◽  
Emotional Response ◽  
Sense Of Self ◽  
Modern History ◽  
History Of ◽  
Nineteenth Century United States

Abstract Gratitude is much discussed these days as an area of research in the positive psychology movement. But the quality has not been given much historical attention—despite the surge of historical attention to other types of emotional response. This article lays out the evidence for extensive reliance on gratitude in the nineteenth-century United States and its measurable decline in the twentieth century—at least until the recent revival. From childrearing materials to comments on etiquette, both references and conventions shifted measurably. The essay goes on to establish the context for these changes, relating gratitude to developments in gender relations and, particularly, to a heightened sense of self and, arguably, of self-entitlement. Current efforts to promote gratitude operate against the contemporary historical dynamic, and the resulting tensions deserve attention from historians and psychologists alike.

The Pre-Modern History of the Post-Modern Dinosaur: Phases and Causes in Post-Darwinian Dinosaur Art

2006 ◽  
Vol 25 (1) ◽  
pp. 5-35 ◽  
Author(s):  
Warren Allmon
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Evolutionary Process ◽  
Late Nineteenth Century ◽  
Modern History ◽  
Origin Of Species ◽  
History Of ◽  
Late Nineteenth ◽  
Synthetic View ◽  
Almost All

Our images of dinosaurs have changed greatly and repeatedly since the group was first recognized in 1842. Although these changes have frequently been noted, their causes have not been adequately investigated. The history of dinosaur iconography since the publication of the Origin of Species can be usefully divided into at least four phases. During each of these phases, images of dinosaurs have been affected as much by what scientists thought dinosaurs should look like according to their particular views of the evolutionary process, as by empirical information derived from analysis of fossils. In the late nineteenth century, when paleontological views of evolution were diverse, views of dinosaurs were highly pluralistic, with some seen as slow and ponderous and others seen as agile and active. In the early twentieth century, as paleontological opinions about evolution narrowed around progressive orthogenesis, the spectrum of images narrowed to a view of almost all dinosaurs as primitive, slow, and stupid. The advent of the modern synthetic view of evolution in the 1940s had little effect on dinosaur science, and it was not until the late 1960s that dinosaurs would be viewed as advanced in many respects, harkening back to ideas first put forward just after Darwin.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Performing the Mass in B Minor in an Age of Choices

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Nineteenth Century ◽  
Johann Sebastian Bach ◽  
Point Of View ◽  
Performance History ◽  
History Of ◽  
Compositional History

Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

The history of psychosomatic medicine

1982 ◽  
Vol 12 (1) ◽  
pp. 17-24 ◽  
Author(s):  
Erwin H. Ackerknecht
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Psychosomatic Medicine ◽  
Doctor Who ◽  
History Of ◽  
Psychosomatic Diseases

SynopsisPsychosomatic medicine begins with the Greeks. It finds a place in Galen's system as diseases of passion, a concept current until the middle of the nineteenth century. The great French and German clinicians of the nineteenth century were all familiar with psychosomatic diseases. During the twentieth century the field was for a while monopolized by psychoanalysts. The psychosomatic specialist is essentially the doctor who listens to the patient.

scholarly journals A brief history of new realism

2016 ◽  
Vol 27 (3) ◽  
pp. 591-609
Author(s):  
Maurizio Ferraris
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Future Perspectives ◽  
New Realism ◽  
History Of

In this paper I try to sketch a brief history of new realism. Starting from nineteenth century idealism, I then move on to discuss twentieth century postmodernism, which, I argue, is the heir of idealism and the theoretical enemy of new realism. Finally, I offer a reconstruction of how and why contemporary new realism came into being and propose a few remarks on its future perspectives.

scholarly journals Dissociation and the Unconscious Mind: Nineteenth-Century Perspectives on Mediumship

2020 ◽  
Vol 34 (3) ◽  
pp. 537-596
Author(s):  
Carlos S. Alvarado
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
William James ◽  
General Interest ◽  
The Unconscious ◽  
History Of ◽  
Memory States ◽  
Hippolyte Taine ◽  
Unconscious Mind

There is a long history of discussions of mediumship as related to dissociation and the unconscious mind during the Nineteenth Century. After an overview of relevant ideas and observations from the mesmeric, hypnosis, and spiritualistic literatures, I focus on the writings of Jules Baillarger, Alfred Binet, Paul Blocq, Théodore Flournoy, Jules Héricourt, William James, Pierre Janet, Ambroise August Liébeault, Frederic W.H. Myers, Julian Ochorowicz, Charles Richet, Hippolyte Taine, Paul Tascher, and Edouard von Hartmann. While some of their ideas reduced mediumship solely to intra-psychic processes, others considered as well veridical phenomena. The speculations of these individuals, involving personation, and different memory states, were part of a general interest in the unconscious mind, and in automatisms, hysteria, and hypnosis during the period in question. Similar ideas continued into the Twentieth Century.

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