Echoes Down the Years

2021 ◽  
pp. 23-42
Author(s):  
Alicia Puglionesi
Keyword(s):  
Nineteenth Century ◽  
Communication Technology ◽  
Mental Content ◽  
Mediated Communication ◽  
Cartesian Dualism ◽  
Proprietary Software ◽  
Software Products ◽  
History Of ◽  
The Dead ◽  
Participatory Performance

This chapter examines the history of human-machine assemblages used to speak for the dead, comparing the practices of the nineteenth-century American Spiritualist movement with those of present-day transhumanist mind-uploading. In both cases, forms of mediated communication give the dead a continuing voice in society through a participatory performance involving the medium—a person whose consciousness is suspended in a state of trance, or a set of algorithms—the deceased, and an audience. Mediumship becomes a theater in which audiences both desire and interrogate the capabilities of necro-communication technology. The chapter attends to these technologies’ implied models of selfhood, which disaggregate mental content—software—from the vehicle of its expression—hardware—in the tradition of Cartesian dualism. The chapter argues that the technologies in question inevitably structure, in concerning ways, political notions of possessive individualism, which become commoditized in the shift from human-performed mediumship to selfhood instantiated in proprietary software products.

Commentary: Necromance

2019 ◽  
Vol 31 (4) ◽  
pp. 829-839
Author(s):  
Irvin J Hunt
Keyword(s):  
Nineteenth Century ◽  
Social Movements ◽  
Political Theory ◽  
American Culture ◽  
Romantic Novel ◽  
History Of ◽  
The Common ◽  
The Dead ◽  
Cooperative Economy ◽  
The Revolution

Abstract This article reconsiders the recent turn in political theory to love as a countercapital affect, helping us endure when hope has lost its salience. The article offers the concept of “necromance” to attend to the ways the popular configuration of love as life-giving often overlooks how in the history of slavery and liberal empire love operates as life-taking. Distinct from necromancy, necromance is not a process of reviving the dead but of bringing subjects in ever closer proximity to the dead. Grounded in a reading of W. E. B. Du Bois’s romantic novel The Quest of the Silver Fleece (1911), particularly its vision of a cooperative economy and its response to the evolving meaning of love in American culture at the end of the nineteenth century, necromance is both a structure of feeling and a form of writing. As a resource for activism indebted to the creative powers of melancholic attachments, necromance contests the common conception that in order for grievances to become social movements or collective insurgencies they must be framed to create feelings of outrage, not of grief. By working inside existing conditions of irrevocable loss, necromantic love registers the feeling that the revolution is already here.

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.

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.

Mission Tracks in the Bush

2019 ◽  
Vol 3 (1-2) ◽  
pp. 103-124
Author(s):  
Gemma Tulud Cruz
Keyword(s):  
Nineteenth Century ◽  
Western Australia ◽  
South Australia ◽  
Nation Building ◽  
Cultural Encounters ◽  
History Of

Christian missionaries played an important role in the Australian nation building that started in the nineteenth century. This essay explores the multifaceted and complex cultural encounters in the context of two aboriginal missions in Australia in the nineteenth century. More specifically, the essay explores the New Norcia mission in Western Australia in 1846-1900 and the Lutheran mission in South Australia in 1838-1853. The essay begins with an overview of the history of the two missions followed by a discussion of the key faces of the cultural encounters that occurred in the course of the missions. This is followed by theological reflections on the encounters in dialogue with contemporary theology, particularly the works of Robert Schreiter.

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