A voice that carries

2019 ◽  
pp. 150-172
Author(s):  
Delia Casadei
Keyword(s):  
Nineteenth Century ◽  
Crimean War ◽  
Regional Dialects ◽  
History Of ◽  
National Boundaries

Casadei’s chapter examines the geopolitical uses of aurality, sketching a history of Italy during the Crimean War “as heard from the outside.” It charts an ideology of the bella voce and considers voice as a means of projecting and disrupting national boundaries in the years before Italy’s unification, concentrating particularly on literary accounts of the Crimean War from the later nineteenth century. It notes the capacity for voices to make (new) sense of geographical distinctions, and interrogates what was at stake in the Sardinian troops’ ability to organize themselves, even to understand one another, amid countless regional dialects in the Crimean campaign. The chapter thus uncovers a telling episode in the history of Italian sound: one in which voice and the capacity for language are fashioned into politicized and even oppositional terms.

Hearing the Crimean War

2019 ◽  
Keyword(s):  
Nineteenth Century ◽  
Sound Studies ◽  
The Black Sea ◽  
Crimean War ◽  
National Unity ◽  
Black Sea Region ◽  
Academic Fields ◽  
History Of ◽  
The Many

This book addresses the sounds of the Crimean War, along with the many ways nineteenth-century wartime is aurally constructed. It examines wide-ranging experiences of listeners in Britain, France, Turkey, Russia, Italy, Poland, Latvia, Daghestan, Chechnya, and Crimea, illustrating the close interplay between nineteenth-century geographies of empire and the modes by which wartime sound was archived and heard. This book covers topics including music in and around war zones, the mediation of wartime sound, the relationship between sound and violence, and the historiography of listening. Individual chapters concern sound in Leo Tolstoy’s wartime writings, and his place within cosmopolitan sensibilities; the role of the telegraph in constructing sonic imaginations in London and the Black Sea region; the absence of archives for the sounds of particular ethnic groups, and how songs preserve memories for both Crimean Tatars and Polish nationalists; the ways in which perceptions of voice rearranged the mental geographies of Baltic Russia, and undermined aspirations to national unity in Italy; Italian opera as a means of conditioning elite perceptions of Crimean battlefields; and historical frames through which to understand the diffusion of violent sounds amid everyday life. The volume engages the academic fields of musicology, ethnomusicology, history, literary studies, sound studies, and the history of the senses.

scholarly journals Montenegro as perceived by a British diplomat: The Hugh Rose's report of 1852.

Balcanica ◽  
2002 ◽  
pp. 211-226
Author(s):  
Cedomir Antic
Keyword(s):  
Nineteenth Century ◽  
British Empire ◽  
Foreign Relations ◽  
Balance Of Power ◽  
Political Elite ◽  
Crimean War ◽  
East European ◽  
Short Period ◽  
History Of ◽  
European Periphery

The following article deals with the image of Montenegro, a little country from the south-east European periphery, as perceived by a member of the nineteenth century British political elite. The history of this petty entity, less populated than an average English city, became especially important on the eve of the Holly Places Crises (of Palestine, 1853). A single dispute over the Montenegro-Ottoman border threatened to turn into European war, just a year before the Crimean War commenced. In regard the Montenegrin question, the always sensitive European "balance of power" was upset with the appearance of the unexpected alliance between Russia and Austria. The unique interest of the British Empire then started, for a short period of time, to be tied in with this almost unknown principality. The attitude of British diplomacy to Montenegro, image of the principality reconstructed in the Colonel Hugh Rose's report and its sources, could contribute not only to the advance the history of British foreign relations, but also to the development of the history of Montenegro.

INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”

2014 ◽  
Vol 42 (3) ◽  
pp. 595-608 ◽  
Author(s):  
Alison Chapman
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
Literary Form ◽  
First Century ◽  
Late Nineteenth Century ◽  
Poetic Form ◽  
Victorian Poetry ◽  
Poetic Tradition ◽  
History Of ◽  
National Boundaries

“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-century Bengali who was a Europhile, a Christian convert, and an English-language woman poet within a British Victorian tradition is a simplistic, if not a problematic appropriation of a colonial subject into the centre of the British Empire. Where Dutt belongs has long preoccupied critics who try to recuperate her poetry for an Indian national poetic tradition, or for a transnational, cosmopolitan poetics. The issue of placing Dutt allows us also to press questions about the conception of Victorian poetry studies, its geographical, cultural, and national boundaries, not just in the nineteenth-century creation of a canon but in our current conception of the symbolic map of Victorian poetry. But, while recent critics have celebrated her poetry's embrace of global poetry as a challenge to the parochialism of national literary boundaries, Dutt's original English-language poetry also suggests an uneven, uncomfortable hybridity, and a wry, ironic interplay between distance and proximity that unfolds through her use of poetic form. This essay investigates what it means to “make something” of Toru Dutt, in the nineteenth century and in the twenty-first century, what is at stake for Victorian poetry studies in privileging Dutt and her multi-lingual writing, and whether her celebrated transnationalism might not also include a discomfort with hybridity that reveals itself through the relation between space and literary form in her poetry.

National and nationalist politics

2016 ◽  
pp. 34-54
Author(s):  
Paul Huddie
Keyword(s):  
Nineteenth Century ◽  
External Support ◽  
British Government ◽  
Crimean War ◽  
Specific Policy ◽  
Easter Rising ◽  
History Of ◽  
Irish People ◽  
Irish Americans ◽  
The Great War

This chapter will show that the Crimean War was perhaps the most positive chapter in Ireland’s nineteenth century history of governance, agitation and conspiracy and society’s relationship with the executive. It will do this by illustrating that between the Famine and the rise of the IRB Irish people demonstrated an aversion for political upheavals, and that this was especially manifest during the Russian campaign. This will be shown to have stemmed from several factors, including a lack of external support and internal organisation, which ensured that there could be no nationalist response comparable to the Great War in the case of those involved in the Easter Rising. It will also be shown that, due to the rampant anti-British rhetoric and apparent active preparations of Irish-Americans to invade Ireland, precautions were taken the British government in Ireland – Dublin Castle. A specific policy was pursued in order to ensure that nothing disturbed what was deemed by the Irish authorities to be a prosperous, loyal and peaceful country. Finally, it will be shown that those positive attributes were also eagerly fostered and encouraged by the lord lieutenant of Ireland, through speeches, visits to invalided Irish soldiers and orchestration of a national banquet.

Sympathy and Synesthesia

2019 ◽  
pp. 3-23
Author(s):  
Dina Gusejnova
Keyword(s):  
Nineteenth Century ◽  
Political Thought ◽  
Adam Smith ◽  
The Other ◽  
Crimean War ◽  
Sergei Eisenstein ◽  
Sensory Experiences ◽  
History Of ◽  
The One ◽  
Literary Techniques

Gusejnova’s chapter offers a wide-ranging assessment of cosmopolitan interpretations of war in the European sentimental tradition. Taking impetus from Tolstoy’s reporting on the Crimean war, Gusejnova turns to the Russian formalists’ interpretation of his technique to reconstruct Tolstoy’s use of literary montage, later adapted to film by Sergei Eisenstein. The chapter then contextualizes the history of this technique within genealogies of cosmopolitan thought on the one hand, and literary sentimentalism on the other. Drawing on works by Adam Smith and Stendhal, Gusejnova surveys some of the intellectual and literary techniques through which cosmopolitan sentiments became widespread in eighteenth- and nineteenth-century Europe. She argues that Tolstoy’s reproduction of multi-sensory experiences through montage is a statement of his political thought, reflecting his intent to increase the human capacity for compassion in light of cosmopolitan ideals. The chapter proposes that greater understanding between people was driven by the literary, visual, and sonic mediation of violent wartime encounters.

A history of some fruit models in wax and other materials: scientific teaching aids and courtly table decorations

2003 ◽  
Vol 30 (2) ◽  
pp. 299-316 ◽  
Author(s):  
Hans-JüRgen Lechtreck
Keyword(s):  
Nineteenth Century ◽  
Fruit Trees ◽  
Visual Aids ◽  
Early Nineteenth Century ◽  
Teaching Aids ◽  
Scientific Teaching ◽  
Glass Marble ◽  
History Of ◽  
By Products ◽  
Wax Models

Two early nineteenth century texts treating the production and use of wax models of fruit reveal the history of these objects in the context of courtly decoration. Both sources emphasise the models' decorative qualities and their suitability for display, properties which were not simply by-products of the realism that the use of wax allowed. Thus, such models were not regarded merely as visual aids for educational purposes. The artists who created them sought to entice collectors of art and natural history objects, as well as teachers and scientists. Wax models of fruits are known to have been collected and displayed as early as the seventeenth century, although only one such collection is extant. Before the early nineteenth century models of fruits made from wax or other materials (glass, marble, faience) were considered worthy of display because contemporaries attached great importance to mastery of the cultivation and grafting of fruit trees. This skill could only be demonstrated by actually showing the fruits themselves. Therefore, wax models made before the early nineteenth century may also be regarded as attempts to preserve natural products beyond the point of decay.

Adam Zalužanský’s “De sexu plantarum” (1592): an early pioneering chapter on plant sexuality

2013 ◽  
Vol 40 (2) ◽  
pp. 244-256 ◽  
Author(s):  
Holger Funk
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
History Of Botany ◽  
Main Work ◽  
Botanical History ◽  
History Of ◽  
The University ◽  
First Time

In the history of botany, Adam Zalužanský (d. 1613), a Bohemian physician, apothecary, botanist and professor at the University of Prague, is a little-known personality. Linnaeus's first biographers, for example, only knew Zalužanský from hearsay and suspected he was a native of Poland. This ignorance still pervades botanical history. Zalužanský is mentioned only peripherally or not at all. As late as the nineteenth century, a researcher would be unaware that Zalužanský’s main work Methodi herbariae libri tres actually existed in two editions from two different publishers (1592, Prague; 1604, Frankfurt). This paper introduces the life and work of Zalužanský. Special attention is paid to the chapter “De sexu plantarum” of Zalužanský’s Methodus, in which, more than one hundred years before the well-known De sexu plantarum epistola of R. J. Camerarius, the sexuality of plants is suggested. Additionally, for the first time, an English translation of Zalužanský’s chapter on plant sexuality is provided.

Correspondence between Adolphe Brongniart and Robert Schomburgk: trading natural history collections for honours

2002 ◽  
Vol 29 (3) ◽  
pp. 333-336
Author(s):  
PIOTR DASZKIEWICZ ◽  
MICHEL JEGU
Keyword(s):  
Nineteenth Century ◽  
Natural History ◽  
Dominican Republic ◽  
Southeast Asia ◽  
Herbarium Specimens ◽  
British Guiana ◽  
Natural History Collections ◽  
History Of ◽  
Source Of Information ◽  
German Naturalist

ABSTRACT: This paper discusses some correspondence between Robert Schomburgk (1804–1865) and Adolphe Brongniart (1801–1876). Four letters survive, containing information about the history of Schomburgk's collection of fishes and plants from British Guiana, and his herbarium specimens from Dominican Republic and southeast Asia. A study of these letters has enabled us to confirm that Schomburgk supplied the collection of fishes from Guiana now in the Laboratoire d'Ichtyologie, Muséum National d'Histoire Naturelle, Paris. The letters of the German naturalist are an interesting source of information concerning the practice of sale and exchange of natural history collections in the nineteenth century in return for honours.

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