Of Truth and Taxes

2018 ◽  
Author(s):  
Shrimoyee Ghosh
Keyword(s):  
Nineteenth Century ◽  
Revenue Collection ◽  
Historical Processes ◽  
Late Eighteenth ◽  
Material History ◽  
Paper Document ◽  
Eighteenth And Nineteenth Centuries ◽  
Stamp Act

The ‘stamp paper’ document, under the Indian Stamp Act, 1899 is a promiscuously present and iconic textual artifact that circulates through the worlds of Indian legality and bureaucracy. The stamp paper as a revenue instrument was imbricated in and constituted by the historical processes that standardized the forms and modes of revenue collection and instruments of evidence, credit, and credibility through the long nineteenth century. Elaborate protocols of writing, verification, identification, attestation and authorization performed by paper workers and truth functionaries produced its authority. Yet, stamp paper from its inception was viewed as notoriously suspect, stamp duties as being persistently evaded and truth-functionaries as scandalously corruptible. This chapter details the discussions and disputes that surrounded the materiality and visuality of stamp paper through the late eighteenth and nineteenth centuries. Through this account of the stamp paper’s material history, I explore colonial law’s contingency and contradictions, and the fraught relationships between commerce and corruption, authenticity and fraudulence, truth and evasion that the stamp paper both embodies and fails to contain.

History and Progress

2019 ◽  
pp. 234-255
Author(s):  
Paul Stock
Keyword(s):  
Nineteenth Century ◽  
World History ◽  
Historical Change ◽  
Early Nineteenth Century ◽  
Ideal Society ◽  
Historical Processes ◽  
Late Eighteenth

Chapter 10 discusses how ideas about historical change influence conceptions of Europe. Late eighteenth- and early nineteenth-century geography books typically regard history as a progression through various ‘stages’, an account which often conflates European and world history. But they also often regard the continent as an extant ideal society. This exposes uncertainty about whether to define Europe in terms of unchanging characteristics or mutable historical processes. Some geography books combine these perspectives and interpret historical change in terms of established patterns, a method which allows them to account for Europe’s malleability and its stable qualities.

The Abominables

2019 ◽  
pp. 27-52
Author(s):  
Marco Pinfari
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Late Nineteenth Century ◽  
Irish Nationalism ◽  
Late Eighteenth ◽  
Rule Breaking ◽  
Late Nineteenth ◽  
Eighteenth And Nineteenth Centuries ◽  
The Many ◽  
Reign Of Terror

This chapter explores the use of monster metaphors in framing “terrorist” actors since the French Revolution. While acknowledging that these metaphors effectively present the “terrorist” as an abject “other,” it argues that the main purpose of the use of monster imagery in framing “terrorists” is to highlight their unmanageability, which may be instrumental in securing popular backing for specific types of rule-breaking behavior in counterterrorism. It presents these arguments while reviewing examples drawn from the origins of modern terrorism in the late eighteenth and nineteenth centuries. These include the gorgon Medusa, which appears for instance in relation to Robespierre’s “Reign of Terror,” and the many-headed hydra—one of the oldest metaphors for representing unruly behavior that proves unmanageable. It then introduces another type of unmanageable monster that would become particularly popular to frame terrorists—Frankenstein’s monster—and its use in the late nineteenth century to frame Irish nationalism.

scholarly journals Introduction

2021 ◽  
pp. 1-18
Author(s):  
Ozan Ozavci
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Great Powers ◽  
The Self ◽  
Great Power ◽  
Late Eighteenth ◽  
Eastern Question ◽  
Local Actors ◽  
Eighteenth And Nineteenth Centuries

The Introductory chapter discusses the overarching question of the book: how did it all begin? Since when did the self-defined Great Powers of the nineteenth century––Austria, Britain, France, Prussia, and Russia––come to assume responsibility for providing security in the Levant. Why? The Introduction traces the answer of these questions to the late eighteenth and nineteenth centuries, and maintains that Great Power interventions in the nineteenth-century Levant need to be considered not only in reference to their immediate causes, theatres, and implications. It is essential to take into account the continuity that European and Levantine actors saw in regional affairs from the late eighteenth century through until at least the mid-nineteenth. There is a need to foreground the persistent patterns or cultures of security within which violence was generated and sustained, and how the quest for security acted as an organizing principle of international relations. It also discusses the importance of considering these interventions in the fabric of the Eastern Question. It invites the readers to view the latter not only as a European question, as the existing literature has us believe, but also as an Ottoman question, whereby the agency of the Ottoman ministers and other local actors was more central than has been documented.

The Author's Effects

2020 ◽  
Author(s):  
Nicola J. Watson
Keyword(s):  
Nineteenth Century ◽  
North America ◽  
House Museums ◽  
The Past ◽  
Cultural Phenomenon ◽  
Late Eighteenth ◽  
House Museum ◽  
Eighteenth And Nineteenth Centuries

The Author’s Effects: On Writer’s House Museums is the first book to describe how the writer’s house museum came into being as a widespread cultural phenomenon across Britain, Europe, and North America. Exploring the ways that authorship has been mythologized and materialized through the conventions of the writer’s house museum, The Author’s Effects anatomizes the how and why of the emergence, establishment, and endurance of popular notions of authorship in relation to creativity. It traces how and why the writer’s bodily remains, possessions, and spaces came to be treasured in the late eighteenth and nineteenth centuries, as a prelude to the appearance of formal writer’s house museums. It ransacks more than 100 museums and archives to tell the stories of celebrated and paradigmatic relics—Burns’ skull, Keats’ hair, Petrarch’s cat, Poe’s raven, Brontë’s bonnet, Dickinson’s dress, Shakespeare’s chair, Austen’s desk, Woolf’s spectacles, Hawthorne’s window, Freud’s mirror, Johnson’s coffee-pot, and Bulgakov’s stove, amongst many others. It investigates houses within which nineteenth-century writers mythologized themselves and their work—Thoreau’s cabin and Dumas’ tower, Scott’s Abbotsford and Irving’s Sunnyside. And it tracks literary tourists of the past to such long-celebrated literary homes as Petrarch’s Arquà, Rousseau’s Île St Pierre, and Shakespeare’s Stratford to find out what they thought and felt and did there, discovering deep continuities with the redevelopment of Shakespeare’s New Place for 2016

Fiction and Poetry

2020 ◽  
pp. 144-168
Author(s):  
Michael Halliwell
Keyword(s):  
Nineteenth Century ◽  
Art Song ◽  
Music Performance ◽  
Critical Discourse ◽  
Significant Feature ◽  
Turn On ◽  
Music Making ◽  
Late Eighteenth ◽  
Professional Evaluation ◽  
Eighteenth And Nineteenth Centuries

The rise of the European novel reached its zenith during the nineteenth century. One can hardly turn on the TV without seeing an adaptation of a novel from this period in a classically sumptuous BBC-TV production. The depiction of music-making in a variety of forms is a significant feature of many of the works of literature and poetry of the period, as the professional evaluation of music performance became part of a broader critical discourse. Poetry found an ever-growing mode of dissemination through the commercial performance of the art song—the work of many, mostly forgotten poets of the late eighteenth and nineteenth centuries lives on in the German Lied, the French mélodie and the English art song.

Architectural Adventurism in Nineteenth-Century Colonial India: Begum Samru and Her Sardhana Church

2020 ◽  
Vol 9 (1) ◽  
pp. 61-89
Author(s):  
Jyoti Pandey Sharma
Keyword(s):  
Nineteenth Century ◽  
Catholic Church ◽  
Indian Subcontinent ◽  
Domestic Architecture ◽  
Building Projects ◽  
Colonial India ◽  
Late Eighteenth ◽  
Architectural Patronage ◽  
Cultural Affinity ◽  
Eighteenth And Nineteenth Centuries

Abstract This article explores the politically fluid and culturally hybrid environment of the Indian subcontinent during the late eighteenth and nineteenth centuries. Interaction between European mercenaries and their Indian patrons led to acculturation of both sides. This cultural affinity also extended into the realm of architecture and building patronage, resulting in a stylistic hybridity that drew upon both Indian and European traditions. This article examines the building projects of Begum Samru, bibi (consort) of a German mercenary and ruler of Sardhana near Delhi. The Begum, born a Muslim, converted to Christianity, but nonetheless still valued her roots, creating a syncretic identity that was reflected in her architectural patronage. The scope of her patronage went beyond domestic architecture to serve the cause of her adopted religion as well. While she donated generously to Catholic institutions, it was in the building of churches that the Begum resorted to what one may call architectural adventurism to mark her identity as a devout Catholic. Transcending the prevalent notions of space and aesthetics, the Begum's architectural trajectory was unconventional due to her gender, social status, faith, and patronage of churches. Commissioned in 1821, Sardhana's Catholic Church became a symbol of her architectural adventurism: it epitomized Begum Samru's feisty spirit and her quest to champion Catholicism in the subcontinent.

‘There are as many Tassos as there are Hamlets’: representations of Tasso’s life in England

2017 ◽  
Author(s):  
Jason Lawrence
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Prominent Feature ◽  
Romantic Poet ◽  
Late Eighteenth ◽  
Biographical Account ◽  
Eighteenth And Nineteenth Centuries ◽  
The Many

During the late eighteenth and nineteenth centuries, attention in England focused increasingly on the troubled life of the poet, who came to be regarded as ‘a prototype of the Romantic poet, loving passionately but hopelessly and above his station, ...chained in a lunatic’s cell’. In the fifth chapter the second principal strand of this study traces and analyses the development of such views about Tasso himself, from the earliest English biographical account by Henry Layng in 1748 to the last at the start of the twentieth century. It also examines the many imaginative engagements with aspects of the poet’s legendary biography, such as his apparent madness and prolonged imprisonment in Ferrara as a result of his supposed love for Leonora d’Este, the Duke’s sister, which were to become a prominent feature of English and European responses to him in the nineteenth century. It focuses particularly on Lord Byron’s impassioned ventriloquisation of the Italian poet’s voice in The Lament of Tasso (1817).

scholarly journals Journals, learned societies and money: Philosophical Transactions , ca . 1750–1900

2015 ◽  
Vol 69 (3) ◽  
pp. 277-299 ◽  
Author(s):  
Aileen Fyfe
Keyword(s):  
Nineteenth Century ◽  
Royal Society ◽  
Late Nineteenth Century ◽  
Financial Situation ◽  
Journal Publishing ◽  
Natural Knowledge ◽  
Learned Societies ◽  
Late Eighteenth ◽  
Late Nineteenth ◽  
Eighteenth And Nineteenth Centuries

This paper investigates the finances of the Royal Society and its Philosophical Transactions , showing that in the late eighteenth and nineteenth centuries journal publishing was a drain on funds rather than a source of income. Even without any expectation of profit, the costs of producing Transactions nevertheless had to be covered, and the way in which this was done reflected the changing financial situation of the Society. An examination of the Society's financial accounts and minute books reveals the tensions between the Society's desire to promote the widespread communication of natural knowledge, and the ever-increasing cost of doing so, particularly by the late nineteenth century.

scholarly journals The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

2021 ◽  
Author(s):  
◽  
Jamie Garrick
Keyword(s):  
Nineteenth Century ◽  
Cultural Capital ◽  
Early Nineteenth Century ◽  
Public Spheres ◽  
The Public ◽  
Public Arena ◽  
Late Eighteenth ◽  
The Status ◽  
Eighteenth And Nineteenth Centuries ◽  
Solo Instrument

<p>Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments.</p>

scholarly journals The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

2021 ◽  
Author(s):  
◽  
Jamie Garrick
Keyword(s):  
Nineteenth Century ◽  
Cultural Capital ◽  
Early Nineteenth Century ◽  
Public Spheres ◽  
The Public ◽  
Public Arena ◽  
Late Eighteenth ◽  
The Status ◽  
Eighteenth And Nineteenth Centuries ◽  
Solo Instrument

<p>Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments.</p>

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