Exit through the gift shop

2020 ◽  
pp. 212-232
Author(s):  
Nicola J. Watson
Keyword(s):  
Nineteenth Century ◽  
Museum Visitors ◽  
Left Behind ◽  
Gift Shop ◽  
Museum Objects ◽  
The Gift ◽  
House Museum ◽  
History Of

Chapter 9 turns its attention from museum objects and spaces to museum visitors, tracing the history of how readers have behaved at writer’s houses and how they have interacted with objects, spaces, and each other. It thus completes the book’s trajectory from the author’s body to that of the reader. It outlines and details nineteenth-century tourist sentimental practices and experiments at sites associated with Petrarch, Rousseau, and Shakespeare. It looks at what tourists brought with them, what they left behind, and what they took away with them. It concludes by describing the writer’s house museum as not so much the scene of writing as the scene of (disavowed) reading.

Vibrato, the Orchestral Organ and the ‘Prevailing Aesthetic’ in Nineteenth-Century Symphonic Music

2014 ◽  
Vol 11 (1) ◽  
pp. 93-112
Author(s):  
David Hurwitz
Keyword(s):  
Nineteenth Century ◽  
Primary Source ◽  
Source Material ◽  
Orchestral Music ◽  
Definitive Answer ◽  
Left Behind ◽  
History Of ◽  
Organ Builders ◽  
Intrinsic Component ◽  
Modern Myth

The issue of vibrato's presence in the nineteenth-century orchestral string section has become controversial, with musicians often asked to accept the proposition that vibrato existed rarely, if at all. Fortunately an extensive, hitherto overlooked, body of primary source material exists that goes straight to the heart of the matter, offering a definitive answer to the question of whether or not vibrato was an intrinsic component of period orchestral string sonority. It comes from the organ literature and from the history of the instrument's evolution over the course of the long nineteenth century. A group of artists and artisans, working from approximately 1830 to 1930, documented the importance of vibrato to any attempt at reproducing, or at least approximating, the authentic timbre of the orchestral string section. Organ builders and performers noted vibrato's use both as an intrinsic constituent of string tone and as an actively applied expressive device. They discussed it extensively in their literature, gave their instruments the capacity to simulate its effects, and specifically notated its presence in their transcriptions of orchestral music. The information they have left behind dispels the modern myth of ‘pure’, vibratoless orchestral string tone as a timbral norm, and provides a truer sense of the era's prevailing aesthetic.

Memorializing its Hero: Liberal Manchesters Statue of Oliver Cromwell

2012 ◽  
Vol 89 (1) ◽  
pp. 179-206 ◽  
Author(s):  
Steve Cunniffe ◽  
Terry Wyke
Keyword(s):  
Nineteenth Century ◽  
Thomas Carlyle ◽  
Town Hall ◽  
New Town ◽  
The North ◽  
Modern Britain ◽  
The Gift ◽  
Oliver Cromwell ◽  
History Of ◽  
Significant Change

Oliver Cromwells historical reputation underwent significant change during the nineteenth century. Writers such as Thomas Carlyle were prominent in this reassessment, creating a Cromwell that found particular support among Nonconformists in the north of England. Projects to memorialize Cromwell included the raising of public statues. This article traces the history of the Manchester statue, the first major outdoor statue of Cromwell to be unveiled in the country. The project originated among Manchester radical Liberal Nonconformists in the early 1860s but was not realized until 1875. It was the gift of Elizabeth Heywood; the sculptor was Matthew Noble. The project, including its intended site in Manchesters new Town Hall, was contentious, exposing political and religious divisions within the community, reinforcing the view that the reassessment of Cromwells place in the making of modern Britain was far from settled.

scholarly journals The Donation Act of Hagi Constantin Pop’s Family for the Annunciation Church in Sibiu

Religions ◽  
2020 ◽  
Vol 11 (3) ◽  
pp. 108
Author(s):  
Constantin Oancea ◽  
Ioan Ovidiu Abrudan
Keyword(s):  
Nineteenth Century ◽  
English Translation ◽  
Historical Context ◽  
Communist Regime ◽  
Orthodox Church ◽  
The Family ◽  
The Gift ◽  
History Of ◽  
The Church ◽  
Shed Light

This article presents an important document relating to the history of an Orthodox church in Sibiu (Biserica din Groapă), whose construction was possible due to the support provided by the family of the wealthy Macedonian-Romanian merchant Hagi Constantin Pop, at the beginning of the nineteenth century. After a thorough description of the document, we will provide both the German transcription and the English translation of the text. The notes and comments that accompany the document are meant to shed light upon the historical context in which the church was raised and to emphasize the importance of the document, which is the oldest one preserved in the archives of the Annunciation Church. The document mentions the gift of charity by the widow of Hagi Constantin Pop, whereby the land on which the church, its surrounding cemetery, the parish house, and the Romanian school were built would become the property of the Orthodox Church. Thus, the document presents the circumstances under which the patrimony of the foundation patronized by the members of Hagi Constantin Pop’s family was constituted. That foundation continued to administer the patrimony of the Annunciation Church until the establishment of the Communist regime in Romania.

scholarly journals Protecting heritage during a crisis

2017 ◽  
Author(s):  
Salphy Ohanis
Keyword(s):  
Nineteenth Century ◽  
The Netherlands ◽  
Safe Place ◽  
Left Behind ◽  
The Press ◽  
History Of ◽  
The Creation ◽  
History Of The Press

Heritage creates people’s memory as well as their existence. The Knooz Syria archive represents the history of the press and printing in Syria from the mid-nineteenth century up to the 1970s. When its founders began collecting materials, they did not predict the crisis that wrecked Syria beginning in 2011. Forced to flee Damascus, they left behind tens of thousands of newspapers, books and documents representing more than 200 years of extended history. With the help of the Prince Claus Fund in the Netherlands, they were able to move an important part of the collection to a safe place. Work continues to move the remaining parts and to archive it electronically. This essay examines the creation of that archive, the threats it faces and the possibilities for its future.

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.

Hurry Up and Wait: The Nigger of the ‘Narcissus’ and the Maritime in Modernism

2017 ◽  
Vol 12 (2) ◽  
pp. 173-197 ◽  
Author(s):  
Maxwell Uphaus
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
The Novel ◽  
Modernist Literature ◽  
Left Behind ◽  
Late Nineteenth ◽  
Cultural Role

The burgeoning subfield of literary oceanic studies has largely neglected modernist literature, maintaining that the end of the age of sail in the late nineteenth century also marks an end to maritime literature's substantive cultural role. This essay outlines a way of reading the maritime in modernism through an analysis of the engagement with history and temporality in Joseph Conrad's sea novel The Nigger of the ‘Narcissus’ (1897). The novel depicts the sea as variously an anachronistic sphere left behind by history, an integral foundation to history, an element that eclipses history, and an archive of history's repressed violence. This article traces the interactions of these various views of the sea's relationship to history, highlighting how they are shaped and inflected by the novel's treatment of race. Based on this analysis, it proposes an approach to the sea in modernist literature that focuses on its historiographical rather than social import.

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