Introduction

2017 ◽  
Author(s):  
Lucia Dacome
Keyword(s):  
Eighteenth Century ◽  
Social Interaction ◽  
The Other ◽  
Complex World ◽  
Anatomical Models ◽  
Grand Tour ◽  
Early Stages ◽  
Other Hand ◽  
The One

Over the course of the eighteenth century, anatomical models were propelled to the forefront of the anatomical world. The Introduction highlights how anatomical models became important social, cultural, and political as well as medical tools. Moreover, it sheds light on what a microhistorical perspective can offer to the study of anatomical modelling and anatomical displays. On the one hand, it points to how such an approach allows us to appreciate the fluidity of meaning that characterized the early stages of anatomical modelling and the variety of actors, including makers, students, artists, and lay audiences, who were involved in its development. On the other hand, it situates anatomical modelling in the context of a complex world of social interaction that encompassed various domains, including artisanal, antiquarian, devotional, and medical cultures; patronage and commerce; the emerging phenomenon of celebrity; and the development of observational practices that were incidental to Grand Tour culture.

Dziedzictwo dawnej Rzeczypospolitej w języku pierwszego polskiego przekładu poematu „Metai” Kristijonasa Donelaitisa

2021 ◽  
Vol 12 (2) ◽  
pp. 383-400
Author(s):  
Jolanta Mędelska
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Political Journalism ◽  
Other Hand ◽  
Polish Language ◽  
Influence Of Substrate ◽  
The One ◽  
Made In

The author analysed the language of the first Polish translation of the eighteenth-century poem “Metai” [The Seasons] by Kristijonas Donelaitis, a Lithuanian Lutheran pastor. The translation was made in 1933 by a socialist activist and close associate of Józef Piłsudski, Kazimierz Pietkiewicz. The analysis showed that the language of the translation is peculiar. On the one hand, this peculiarity consists in refraining from archaizing the translation and the use of elements that are close to the translator’s style of social-political journalism (e.g., dorobkiewicz [vulgarian], feministka [feminist]), on the other hand, the presence at all levels of language of peculiarities characteristic for Kresy Polish language in both its territorial variations. These are generally old features of common Polish, the retention of which in the eastern areas of the Polish Rzeczpospolita was supported by the influence of substrate languages, later also Russian, or by borrowing. This layer was natural in the language of the translator, born in Ukraine, who spent part of his life in Vilnius, some in exile in Russia. This is the colourful linguistic heritage of the former Republic of Poland.

The Standard of Taste Debate

Food Fights ◽  
2019 ◽  
pp. 100-123
Author(s):  
Charles C. Ludington
Keyword(s):  
Eighteenth Century ◽  
First Century ◽  
The Other ◽  
Tribal Identity ◽  
Political Beliefs ◽  
Other Hand ◽  
Class Status ◽  
Twenty First Century ◽  
Standard Of Taste ◽  
The One

On the one hand people like to say that “there is no accounting for taste.” On the other hand, people constantly make judgments about their own and other people’s taste (gustatory and aesthetic). Charles Ludington examines the taste for wine in eighteenth-century England and Scotland, and the taste for beer in twenty-first century America, to argue that taste can in fact be accounted for because it is a reflection of custom, “tribal” identity, gender, political beliefs, and conceptions of authenticity, which are mostly but not entirely conditioned by class status and aspirations. And rightly or wrongly, we judge other people’s taste because taste positions us in society.

Capability Jane

2020 ◽  
pp. 210-250
Author(s):  
Mike Goode
Keyword(s):  
Eighteenth Century ◽  
Landscape Design ◽  
The Other ◽  
Social Effects ◽  
The Novel ◽  
Ecological Consciousness ◽  
Mansfield Park ◽  
Other Hand ◽  
Humphry Repton ◽  
The One

The chapter contends that Jane Austen’s novel Mansfield Park, through its rhetorical and conceptual overlaps with eighteenth-century landscape design, does not align its realist project with representing reality so much as with revealing reality’s capabilities, thereby associating Austenian realism metaphysically and medially with the ecological consciousness and experimentation of landscaping. Contrary to familiar leftist critiques of landscape gardening’s political meanings and abhorrent social effects, the chapter uncovers the conceptual overlaps between, on the one hand, the ecological consciousness and design vocabulary of eighteenth-century landscape theorists like Humphry Repton and Richard Payne Knight, and, on the other hand, contemporary formalism and Gilles Deleuze’s conception of the virtuality extant in any reality. The chapter then traces how Mansfield Park reworks this ecological consciousness and design vocabulary (affordances, allowances, capabilities), arguing that Austen theorizes the novel form as a design medium wherein narrative is just a contingent ecological experiment.

Conclusion

2020 ◽  
pp. 199-206
Author(s):  
Floris Verhaart
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Moral Virtue ◽  
The Other ◽  
Classical Literature ◽  
Moral Issues ◽  
Other Hand ◽  
French School ◽  
The One

The final chapter summarizes the findings of the preceding chapters and offers an epilogue on how the tension between different approaches to classical literature has parallels in the nineteenth century. It is argued that the debates described in the monograph between the ‘Dutch School’ (philologia) focusing on textual problems and the ‘French School’ (philosophia) focusing on moral issues had no clear winners. Rather they led, on the one hand, to a more technical and professional approach to the study of ancient texts and, on the other hand, to the continued popularity of classical ideas and models of moral virtue in the eighteenth century thanks to more accessible works of ‘popular’ scholarship.

If They Only Knew

2019 ◽  
pp. 91-104
Author(s):  
Aleta-Amirée Von Holzen
Keyword(s):  
Twentieth Century ◽  
Social Interaction ◽  
The Other ◽  
Authentic Self ◽  
Other Hand ◽  
Marvel Comics ◽  
The One

Artikelbeginn:[English title and abstract below] Zahlreiche Superheldenfiguren sind dadurch gekennzeichnet, dass sie nicht nur über Superkräfte verfügen, sondern auch eine Doppelidentität besitzen: In der äußerlich durch eine Maske sichtbar gemachten Heldenidentität vollbringen sie öffentlich Heldentaten, in der zivilen Identität dagegen verbergen sie ihre Kräfte und verschweigen ihrem Umfeld ihr Heldentum. Solche Figuren lassen sich als maskierte Helden und Heldinnen beschreiben; die Maskerade bzw. das Geheimnis um die Doppelidentität ist eine Grundlage ihres Heldentums. If They Only KnewThe Masked Hero’s Double Identity between Deception and AuthenticityMany superheroes are not defined by their superpowers alone but also by their having established a double identity – wearing an actual mask while ›working‹ as a hero in public but hiding their superpowers by wearing a metaphorical mask in their civilian persona. In this article, double identity is investigated in relation to the secret and the mask as forms of social interaction. It is argued that stories about masked heroes tend to implicitly address matters of identity. On the one hand, a mask evokes the notion of an authentic self, either concealed or revealed by the mask; while on the other hand it also permits identity to be perceived as multiple and fluid. This article examines how two examples of the masked hero in the context of twentieth ­century identity discourse, namely Marvel Comics’ Spider­Man/Peter Parker and Nova/Rich Rider, are linked with Erving Goffman’s self­presentation theory as well as with Robert Jay Lifton’s concept of the protean self.

Town and Steppe in Ottoman Syria: Hostility, Exploitation and Cooperation in the Late Seventeenth and Eighteenth Centuries

Der Islam ◽  
2015 ◽  
Vol 92 (1) ◽  
Author(s):  
James A. Reilly
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Urban Life ◽  
The Other ◽  
Urban Centers ◽  
Other Hand ◽  
Literary Sources ◽  
The One ◽  
Urban People ◽  
Different Sources

AbstractLate-seventeenth- and eighteenth-century sources from the Homs and Hama region in Ottoman Syria present contrasting portrayals of Bedouins. Taken together, these sources offer conflicting perspectives with respect to relationships between peoples of the towns and the steppe. On the one hand, literary sources typically portray Bedouins as antitheses of urban life, as savage wanderers who lived outside the norms of propriety and who collectively posed a threat to the wellbeing and property of settled people and of travelers. But on the other hand, legal sources portray Bedouins variously as targets of exploitation or taxation by urban-based governments; or as partners with urban people in contractual undertakings; or as imperial subjects who, like any others, would seek justice in the urban Sharīʿa courts. The article explores these differing characterizations, and seeks to explain the multifarious realities that different sources convey. It concludes by suggesting that relationships between town and steppe were on their way to becoming more institutionalized in the last years of the eighteenth century. This development foreshadowed documented nineteenth-century trends in which urban civil norms and institutions became noticeable in the lives of Bedouins who lived in proximity to towns and urban centers.

scholarly journals Hearing Things: Music and Sounds the Traveller Heard and Didn’t Hear on the Grand Tour

2012 ◽  
Vol 18 (3) ◽  
Author(s):  
Vanessa Agnew
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Classical Antiquity ◽  
Grand Tour ◽  
Historical Method ◽  
Historical Reenactment ◽  
Other Hand ◽  
Cultural Boundaries ◽  
History Of

For Charles Burney, as for other Enlightenment scholars engaged in historicising music, the problem was not only how to reconstruct a history of something as ephemeral as music, but the more intractable one of cultural boundaries. Non-European music could be excluded from a general history on the grounds that it was so much noise and no music. The music of Egypt and classical antiquity, on the other hand, were likely ancestors of European music and clearly had to be accorded a place within the general history. But before that place could be determined, Burney and his contemporaries were faced with a stunning silence. What was Egyptian music? What were its instruments? What its sound? The paper examines the work of scholars like Burney and James Bruce and their efforts to reconstruct past music by traveling to exotic places. Travel and a form of historical reenactment emerge as central not only to eighteenth-century historical method, but central, too, to the reconstruction of past sonic worlds. This essay argues that this method remains available to contemporary scholars as well.

From 'Ā'esha to Nur Jahān: The Shaping of a Classical Persian Poetic Canon of Women

2009 ◽  
Vol 2 (2) ◽  
pp. 148-164 ◽  
Author(s):  
Sunil Sharma
Keyword(s):  
Eighteenth Century ◽  
Direct Effect ◽  
Literary History ◽  
Literary Tradition ◽  
The Other ◽  
Women Poets ◽  
Cultural Shift ◽  
Other Hand ◽  
The One ◽  
The Way

AbstractThe eighteenth century witnessed an interest in Persian women poets and attempts were made by writers of tazkeras to create a female canon of poets. The cultural shift in the Iranian-Indian interface at this time had a direct effect on the writing of Persian literary history that, on the one hand, resulted in the desire to maintain a universal vision regarding the Persianate literary past, exemplified by such writers as Vāleh Dāghestāni in Riāz al-sho' arā', and on the other hand, witnessed the increasingly popular move towards a more local and parochial version of the achievements of poets, as seen in Āzar Bēgdeli's Ātashkada and other writers of biographical dictionaries. The tri-furcation of the literary tradition (Iran, Turan [Transoxiana], India) complicated the way the memory of women poets would be accommodated and tazkera writers were often unencumbered by issues of nationalism and linguistic purity on this subject. However, ultimately the project of canonization of classical Persian women poets was a failure by becoming all inclusive.

Dating theOdes of Solomon

Antichthon ◽  
1993 ◽  
Vol 27 ◽  
pp. 45-59 ◽  
Author(s):  
Michael Lattke
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Other Hand ◽  
History Of ◽  
Psalms Of Solomon ◽  
The One

41 verse texts are extant of the original 42 poems (also described as hymns, psalms or songs) which comprise the so-calledOdes of Solomon—a corpus not to be confused with the 18 so-calledPsalms of Solomon.As can be seen from the Appendix, the history of the discovery and publication of these poems began with C.G. Woide at the end of the eighteenth century.1 Up to that time the only evidence for theOdes of Solomonwas twofold. On the one hand, there was an enigmatic Latin quotation of three lines (i.e. 19:6-7a) in theDivinae Institutionesof Lactantius (c.240-c.320). On the other hand, the mere titlewas listed together with the better knownin the so-calledof Ps.-Athanasios and theascribed to Nikephoros Patriarch of Konstantinopolis (c.750-828). In these two canon-listsPsalmsandOdesappear in this order among the Old Testament's ‘antilegomena’ which is a category between ‘canonical’ and ‘apocryphal’.

scholarly journals К истории русской ботанической иллюстрации: «ученые» и «народные» травники XVI-XVIII вв.

2018 ◽  
Vol 6 ◽  
pp. 13-45
Author(s):  
Александра Борисовна Ипполитова
Keyword(s):  
Eighteenth Century ◽  
Natural Sciences ◽  
The Other ◽  
General Overview ◽  
Other Hand ◽  
The One ◽  
Botanical Illustrations

В статье дается общий обзор ботанической иллюстрации в русских рукописях XVI-XVIII вв. Это с одной стороны, переводы европейских энциклопедических естественнонаучных сочинений – «Gaerde der suntheit» Иоганна фон Кубе и «Liber de arte distillandi» Иеронима Бруншвига, и с другой стороны – «народные» травники, в которых представлен «наивный» вариант ботанической иллюстрации. This article provides the first general overview of the botanical illustrations in Russian manuscripts between the sixteenth and eighteenth centuries. On the one hand, these are the translations of the European encyclopaedical works in natural sciences, such as Johann von Cube’s Gaerde der Suntheit and Hieronymus Brunschwig's Liber de arte distillandi. On the other hand, there are “folk” herbals of the eighteenth century that represent a “naive” version of botanical illustrations.

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