Rethinking Affect

2021 ◽  
pp. 141-166
Author(s):  
Isabella van Elferen
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Musical Aesthetics ◽  
Historical Sources ◽  
Musical Practice ◽  
Baroque Music ◽  
New Perspective ◽  
Musical Affect

This chapter rethinks affect, one of the key constituents of musical aesthetics in Bach’s time. Interrogating the musicological concept of Affektenlehre, it addresses musical affect as a new perspective on what musicology has tended to isolate historically under the umbrella of German Baroque rhetoric. The first paragraphs sketch a historiography of hermeneutic views of the Affektenlehre and address the criticisms that this approach has encountered. Based on a rereading of historical sources, the chapter investigates the ways in which twentieth-century musicologists developed views on affect in German Baroque music, the relation of these views to the historical situation, and their role in Bach studies. Taking into account early modern affect theories as well as the modern philosophies of affect based upon them, the final paragraphs aim to achieve an understanding of affect that is more in line with contemporary musical practice and theory.

Alien Internment in John Galsworthy’s ‘The Bright Side’ and ‘The Dog It was that Died’

2021 ◽  
Vol 30 (1) ◽  
pp. 45-61
Author(s):  
Jill Felicity Durey
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Human Nature ◽  
Second World War ◽  
World War ◽  
Historical Sources ◽  
Internment Camp ◽  
Bright Side ◽  
Second World ◽  
John Galsworthy

This article illuminates two short stories by John Galsworthy through examining them with the help of his diaries and letters, a handful of unpublished letters by his nephew from an internment camp and secondary historical sources. It argues that the stories, when read in conjunction with these sources, are highly revealing about human nature during Second World War and also about Galsworthy’s prescient fears concerning a second twentieth-century world war, which he did not live to see.

Salvage

2015 ◽  
Vol 49 (4) ◽  
pp. 845-859
Author(s):  
EVAN CALDER WILLIAMS
Keyword(s):  
Twentieth Century ◽  
Science Fiction ◽  
Early Modern ◽  
Human Body ◽  
Insurance Law ◽  
Future Possibility ◽  
Avant Garde ◽  
Personal Risk ◽  
Critical Approaches ◽  
History Of

This essay develops a history of salvage both as particular activity and as concept, arguing that it has quietly become one of the fundamental structures of thought that shape how we envision future possibility. However, the contemporary sense of the word, which designates the recuperation or search for value in what has already been destroyed, is a recent one and represents a significant transformation from the notion of salvage in early modern European maritime and insurance law. In that earlier iteration, salvage denoted payment received for helping to avert a disaster, such as keeping the ship and its goods from sinking in the first place. Passing through the dislocation of this concept into private salvage firms, firefighting companies, military usage, avant-garde art, and onto the human body itself in the guise of “personal risk,” the essay argues that the twentieth century becomes indelibly marked by a sense of the disaster that has already occurred. The second half of the essay passes into speculative culture, including fiction, video games, and film, to suggest that the most critical approaches to salvage have often come under the sign of science fiction but that the last decade in particular has shown how recent quotidian patterns of gentrification and defused antagonism have articulated stranger shifts in the figure of salvage than any speculative imaginary can currently manage.

Victorians in the Closet: Oscar Wilde's Monstrous Hollywood Legacy

2021 ◽  
Vol 49 (4) ◽  
pp. 711-729
Author(s):  
Kate Hext
Keyword(s):  
Twentieth Century ◽  
Reciprocal Relationship ◽  
Horror Films ◽  
Early Cinema ◽  
Visual Effects ◽  
Early American ◽  
Close Analysis ◽  
Picture Of Dorian Gray ◽  
New Perspective ◽  
Twentieth Century America

This essay offers a new perspective on the Victorians’ representation in early cinema. It argues that the profile of Oscar Wilde and the decadent movement was such, in early twentieth-century America, that its movies often viewed the Victorians through a decadent lens. Situating its discussion in a detailed exposition of Hollywood's interest in late-Victorian decadence, this essay discusses the reciprocal relationship between Oscar Wilde's imagination and cinematic horror. It sketches the inherently cinematic qualities in decadent writing and, focusing on Wilde's The Picture of Dorian Gray (1891), offers a new reading of how it incorporates different cinematic technologies to create a sense of supernatural horror. The essay goes on to examine how Wilde's novel inspired early American horror films, with close analysis of how its dialogue and visual effects were incorporated into the genre-defining adaptation of Jekyll and Hyde (1920).

Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Art

2021 ◽  
Author(s):  
Michael Zell
Keyword(s):  
Social Networks ◽  
Seventeenth Century ◽  
Early Modern ◽  
Gift Exchange ◽  
Gift Giving ◽  
Dutch Art ◽  
Dutch Golden Age ◽  
Symbolic Economy ◽  
The Gift ◽  
New Perspective

This book offers a new perspective on the art of the Dutch Golden Age by exploring the interaction between the gift's symbolic economy of reciprocity and obligation and the artistic culture of early modern Holland. Gifts of art were pervasive in seventeenth-century Europe and many Dutch artists, like their counterparts elsewhere, embraced gift giving to cultivate relations with patrons, art lovers, and other members of their social networks. Rembrandt also created distinctive works to function within a context of gift exchange, and both Rembrandt and Vermeer engaged the ethics of the gift to identify their creative labor as motivated by what contemporaries called a love of art

Unexpected Subversions: Modern Colonialism, Globalization, and Commodity Culture

2012 ◽  
Author(s):  
Timothy Burke
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Large Class ◽  
Consumer Culture ◽  
Global Culture ◽  
Middle Classes ◽  
Commodity Culture ◽  
Consumer Agency ◽  
The Pacific ◽  
History Of

Scholars studying the history of modern colonialism have been more reluctant to make strongly contrarian claims about consumerism and commodification similar to those made by early modern Europeanists because they are more unsettled by some of the implications of their own studies. Modern consumer culture is strongly mapped to ‘Westernization’ and globalization. There is a very large class of scholarly studies that in some respect or another discuss the association between colonialism and consumption in nineteenth- and twentieth-century global culture. Even constrained to the Western European states that created or extended formal empires in Africa, Asia, and the Pacific after 1860, studies such as Anne McClintock's intricate reading of British commodity culture indicate the extent to which colonial meanings and images were circulating within metropolitan societies. This article discusses modern colonialism, globalization, and commodity culture. It first examines the middle classes, nations, and modernity, and then considers consumer agency in the context of globalization.

‘A magic science’: rock music as a recording art

Popular Music ◽  
1983 ◽  
Vol 3 ◽  
pp. 195-213 ◽  
Author(s):  
Paul Clarke
Keyword(s):  
Twentieth Century ◽  
Rock Music ◽  
Sound Recording ◽  
Musical Practice ◽  
Order And Disorder ◽  
Twentieth Century Music ◽  
Late Twentieth ◽  
And Control ◽  
Jimi Hendrix ◽  
Late Twentieth Century

Jimi Hendrix once claimed ‘I'm working on music to be completely, utterly a magic science’ (Henderson 1981, p. 337). It is a description that fits not just the best of Hendrix's own music, but the best of all that late twentieth-century music in which the ability to capture and control sounds (on tape or disc) has become a means of extending old musical forms and traditions, and establishing new possibilities for them. Throughout his career, Hendrix drew nourishment from his musical roots in black traditions, but it was not until the summer of 1967 that he plugged himself fully into the new possibilities opened up by the technology of sound recording. Hendrix had already proved himself something of a musical ‘magician’ in the ancient sense in that he attempted, through music, to mediate between order and disorder, using his guitar as an expressive extension of himself to flirt with the danger and power of musical disintegration (for the parallel with non-Western musical practice see Shepherd 1977, p. 72; Mellers 1973, pp. 24–6; Clarke 1982, pp. 227–9).

scholarly journals Condemnation of Religious Concepts: An Examination of Chubak's "An Afternoon in Late Autumn" through Bakhtin's Theory of Grotesque Realism

2018 ◽  
Vol 21 (1) ◽  
pp. 53-67
Author(s):  
Sayed Mohammad Anoosheh ◽  
Muhammad Hussein Oroskhan
Keyword(s):  
Twentieth Century ◽  
Short Stories ◽  
Short Story ◽  
Lower Section ◽  
Persian Literature ◽  
Social Hierarchies ◽  
Late Autumn ◽  
New Perspective ◽  
Style Of Writing ◽  
A Site

The first traces of modernism in Iranian society can be found in the second decade of twentieth century which was deeply embedded with religious concepts. With regard to Persian literature, short story was developed as a new genre and a sign of modernism of that period by prominent Iranian writers such as Sadeq Hedayat (1903-1951), Mohammad Ali Jamalzadeh (1892-1997) and Sadegh Chubak (1916-1998). In this way a cultural clash was broken out between the traditional religious concepts and the new modern ideas. Among these writers, Chubak was more influenced by the doctrine of modernism. He expressed his message colloquially through his short stories to instigate the lower part of society. His naturalistic style of writing delved into the most gruesome details of people's life with the aim of shocking his reader in experiencing a new perspective previously ignored. To highlight Chubak's style of writing attempt is made to explore one of the highly praised short stories entitled "An Afternoon in Late Autumn" on the ground of the Bakhtin's theory of grotesque realism cited in Rabelais and His World. Grotesque realism is a site upon which religious and social hierarchies can be subverted and renewed. This study tries to reveal that Chubak followed the Bakhtin's grotesque realism to evoke a new outlook particularly in the lower section of society.

scholarly journals Zemskii Sobor: Historiographies and Mythologies of a Russian “Parliament”

2019 ◽  
Author(s):  
Ivan Sablin ◽  
Kuzma Kukushkin
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
Russian Civil War ◽  
History Writing ◽  
Constituent Assembly ◽  
The Government ◽  
The Individual ◽  
Modern Russian

Focusing on the term zemskii sobor, this study explored the historiographies of the early modern Russian assemblies, which the term denoted, as well as the autocratic and democratic mythologies connected to it. Historians have discussed whether the individual assemblies in the sixteenth and seventeenth century could be seen as a consistent institution, what constituencies were represented there, what role they played in the relations of the Tsar with his subjects, and if they were similar to the early modern assemblies elsewhere. The growing historiographic consensus does not see the early modern Russian assemblies as an institution. In the nineteenth–early twentieth century, history writing and myth-making integrated the zemskii sobor into the argumentations of both the opponents and the proponents of parliamentarism in Russia. The autocratic mythology, perpetuated by the Slavophiles in the second half of the nineteenth century, proved more coherent yet did not achieve the recognition from the Tsars. The democratic mythology was more heterogeneous and, despite occasionally fading to the background of the debates, lasted for some hundred years between the 1820s and the 1920s. Initially, the autocratic approach to the zemskii sobor was idealistic, but it became more practical at the summit of its popularity during the Revolution of 1905–1907, when the zemskii sobor was discussed by the government as a way to avoid bigger concessions. Regionalist approaches to Russia’s past and future became formative for the democratic mythology of the zemskii sobor, which persisted as part of the romantic nationalist imagery well into the Russian Civil War of 1918–1922. The zemskii sobor came to represent a Russian constituent assembly, destined to mend the post-imperial crisis. The two mythologies converged in the Priamur Zemskii Sobor, which assembled in Vladivostok in 1922 and became the first assembly to include the term into its official name.

scholarly journals Māori Urban Migrations and Identities, ‘Ko Ngā Iwi Nuku Whenua’: A study of Urbanisation in the Wellington Region during the Twentieth Century

2021 ◽  
Author(s):  
◽  
Erin Keenan
Keyword(s):  
Twentieth Century ◽  
Urban Areas ◽  
Urban Migration ◽  
World War ◽  
Historical Sources ◽  
The Past ◽  
Complex Interactions ◽  
The Subject ◽  
The Many ◽  
Migration Experiences

<p>Māori urbanisation and urban migrations have been the subject of much discussion and research, especially following World War Two when Māori individuals, whānau and communities increasingly became residents of towns and cities that were overwhelmingly Pākehā populated. However, Māori urbanisation experiences and urban migrations are difficult topics to address because kaumātua are reluctant to discuss ‘urban Māori’, especially considering its implications for Māori identities. The original contribution this thesis makes to histories of Māori urban migrations is that it explores these and other understandings of urbanisations to discover some of their historical influences. By discussing urbanisations directly with kaumātua and exploring historical sources of Māori living in, and moving to, the urban spaces of Wellington and the Hutt Valley through the twentieth century, this thesis is a ‘meeting place’ for a range of perspectives on the meanings of urbanisations from the past and the present. Although urbanisation was an incredible time of material change for the individuals and whānau who chose to move into cities such as Wellington, the histories of urban migration experiences exist within a scope of Māori and iwi worldviews that gave rise to multiple experiences and understandings of urbanisations. The Wellington region is used to show that Māori in towns and cities used Māori social and cultural forms in urban areas so that they could, through the many challenges of becoming urban-dwelling, ensure the persistence of their Māoritanga. Urbanisations also allowed Māori to both use traditional identities in urban areas, as well as develop new relationships modelled on kinship. The Ngāti Pōneke community is used as an example of the complex interactions between these identities and how many Māori became active residents in but not conceptually ‘of’ cities. As a result, the multiple and layered Māori identities that permeate throughout Māori experiences of the present and the past are important considerations in approaching and discussing urbanisations. Urban Māori communities have emphasised the significance of varied and layered Māori identities, and this became particularly pronounced through the Māori urban migrations of the twentieth century.</p>

scholarly journals Typical bridge tunes in jazz music 1920–1960s

2021 ◽  
pp. 145-150
Author(s):  
Ekaterina A. Mylnikova ◽  
Keyword(s):  
Twentieth Century ◽  
Professional Competence ◽  
Music Performance ◽  
Musical Language ◽  
Musical Practice ◽  
Creative Methods ◽  
Jazz Music ◽  
Stylistic Elements

One of the most important components that determine the level of professional competence of a modern musician specializing in jazz music performance is mastering the basic laws of the art of improvisation, based on knowledge and understanding of the laws of traditional harmonic structures and stylistic features of jazz music of the 20–60s of the XX century. A qualified performer and teacher must have knowledge of the skills and abilities of this type of musical practice, which are aimed not so much at improving various techniques of playing the instrument, as at the competent use of stylistic elements of the musical language, its means of expression and forms. The typology and systematization of the main types of harmonic schemes of jazz works of the middle of the twentieth century helps the optimal practical and theoretical assimilation of technological principles and various creative methods aimed at further developing the harmonious thinking of the performer. Within the framework of this research, an analysis of the basic structures of the middle parts in jazz music of the 20–60s of the XX century is undertaken. Methods for studying this issue based on the works of David Baker, Jerry Cooker, Mark Levine and Richard Scott are presented.

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