Modern(ist) Dances and Modern Work-Concepts

2020 ◽  
pp. 69-92
Author(s):  
Anna Pakes
Keyword(s):  
Modern Dance ◽  
Work Concept ◽  
Late Nineteenth ◽  
Modern Work ◽  
The Way

Chapter 3 discusses Western theatre dance in the late nineteenth and early twentieth centuries, arguing that in this period the dance work-concept acquires a particular “thickness,” clear contours and regulative force in at least some ballet and modern dance practice. Dance comes to be understood as generating authored, repeatable, persistent, and autonomous works that function both as guiding structures for performers and as a focus of appreciation for audiences. Specific developments such as dance “symphonism” and the so-called new ballet are explored, and commonalities in the way the work-concept develops in ballet and modern dance are considered. The chapter also examines one consequence of the work-concept’s consolidation in this period, namely its retrospective application to older ballets and dances by practitioners and historians keen to establish a canon of choreographic achievement.

The Southern Slope of Monsalvat: How Spanish Wagnerism Became Catalan

2017 ◽  
Vol 41 (1) ◽  
pp. 31-47
Author(s):  
Clinton D. Young
Keyword(s):  
Economic Development ◽  
Political Institutions ◽  
Late Nineteenth Century ◽  
Southern Slope ◽  
Modern Music ◽  
The Past ◽  
Late Nineteenth ◽  
Symphonic Culture ◽  
Similar Dynamic ◽  
The Way

This article examines the development of Wagnerism in late-nineteenth-century Spain, focusing on how it became an integral part of Catalan nationalism. The reception of Wagner's music and ideas in Spain was determined by the country's uneven economic development and the weakness of its musical and political institutions—the same weaknesses that were responsible for the rise of Catalan nationalism. Lack of a symphonic culture in Spain meant that audiences were not prepared to comprehend Wagner's complexity, but that same complexity made Wagner's ideas acceptable to Spanish reformers who saw in the composer an exemplar of the European ideas needed to fix Spanish problems. Thus, when Wagner's operas were first staged in Spain, the Teatro Real de Madrid stressed Wagner's continuity with operas of the past; however, critics and audiences engaged with the works as difficult forms of modern music. The rejection of Wagner in the Spanish capital cleared the way for his ideas to be adopted in Catalonia. A similar dynamic occurred as Spanish composers tried to meld Wagner into their attempts to build a nationalist school of opera composition. The failure of Tomás Bréton's Los amantes de Teruel and Garín cleared the way for Felip Pedrell's more successful theoretical fusion of Wagnerism and nationalism. While Pedrell's opera Els Pirineus was a failure, his explanation of how Wagner's ideals and nationalism could be fused in the treatise Por nuestra música cemented the link between Catalan culture and Wagnerism.

Sed ubi Socrates currit? On the Gettier Problem before Gettier

2017 ◽  
Author(s):  
Risto Hilpinen
Keyword(s):  
Twentieth Century ◽  
True Belief ◽  
Belief System ◽  
Gettier Problem ◽  
Current Belief ◽  
The Future ◽  
Late Nineteenth ◽  
The Gettier Problem ◽  
The Way ◽  
Forward Looking

Medieval philosophers presented Gettier-type objections to the commonly accepted view of knowledge as firmly held true belief, and formulated additional conditions that meet the objections or analyzed knowledge in a way that is immune to the Gettier-type objections. The proposed conditions can be divided into two kinds: backward-looking conditions and forward-looking conditions. The former concern an inquirer’s current belief system and the way the inquirer acquired her beliefs, the latter refer to what the inquirer may come to learn in the future and how she can respond to objections. Some conditions of knowledge proposed in late nineteenth- and twentieth-century epistemology can be regarded as variants of the conditions put forward by medieval authors.

scholarly journals Identity considerations for a psychology based on a complex epistemology

2009 ◽  
Vol 2 (2) ◽  
pp. 158-166 ◽  
Author(s):  
Juan Carlos Jaramillo Estrada
Keyword(s):  
Quality Of Life ◽  
Nineteenth Century ◽  
Active Part ◽  
Late Nineteenth Century ◽  
Human Beings ◽  
The Poor ◽  
The World ◽  
Late Nineteenth ◽  
The Way

Born in the late nineteenth century, within the positivist paradigm, psychology has made important developments that have allowed its recognition in academia and labor. However, contextual issues have transformed the way we conceptualize reality, the world and man, perhaps in response to the poor capacity of the inherited paradigm to ensure quality of life and welfare of human beings. This has led to the birth and recognition of new paradigms, including complex epistemology, in various fields of the sphere of knowledge, which include the subjectivity, uncertainty, relativity of knowledge, conflict, the inclusion of "the observed" as an active part of the interventions and the relativity of a single knowable reality to move to co-constructed realities. It is proposed an approach to the identity consequences for a psychology based on complex epistemology, and the possible differences and relations with psychology, traditionally considered.

Scottish Gothic Drama

2017 ◽  
pp. 59-74
Author(s):  
Barbara A. E. Bell
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Good Deal ◽  
Late Nineteenth Century ◽  
Visual Effects ◽  
Gothic Revival ◽  
Performance Culture ◽  
Late Nineteenth ◽  
Music Hall ◽  
The Way

Scottish theatre, from the mid-eighteenth century onwards, has been characterised by a distinctive performance culture that values anti-illusionist techniques, breaking the fourth wall, music and song, strongly physical acting styles and striking visual effects. These were accepted traits of the Georgian theatre as a whole; however, they endured in Scotland through the music hall and pantomime traditions, when late nineteenth-century Western theatre was focused on realism/naturalism. Their importance to the search for a distinctive Scottish Gothic Drama lies in the way that the conditions of the Scottish theatre during the Gothic Revival valued these skills and effects. That theatre was heavily constricted in what it could play by censorship from London and writers were cautious in their approach to ‘national’ topics. At the same time a good deal of work portraying Scotland as an inherently Gothic setting was imported onto Scottish stages.

Toys

2020 ◽  
pp. 394-402
Author(s):  
Elizabeth Heath
Keyword(s):  
Material Culture ◽  
Historical Sources ◽  
French Empire ◽  
Cognitive Framework ◽  
Late Nineteenth ◽  
Insight Into ◽  
The Way

This article examines colonially-themed toys as historical sources that provide insight into the way that metropolitan boys and girls learned embrace the French empire in the late nineteenth and early twentieth centuries. It argues that colonially-themed toys such as drums, dolls, and games encouraged forms of play that instilled a colonial mindset and attitude among metropolitan French children. These actions provided the foundation for a cognitive framework and worldview that naturalized colonialism and racial and civilization hierarchies. The residues of these earlier practices and imaginations remain, marking toys as a particularly rich genre of material culture with which to understand the inculcation of colonialism and lingering colonial nostalgia.

La bohème’s Paris

2020 ◽  
pp. 35-56
Author(s):  
Alexandra Wilson
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
French Culture ◽  
Late Nineteenth ◽  
La Boheme ◽  
The City ◽  
The Way

This chapter analyses the ways in which La bohème was influenced by popular romantic representations of Paris and the ways in which it, in turn, helped shape them. It discusses the late nineteenth-century Italian fascination with French culture and the way in which Puccini’s opera was nostalgically depicting an old Paris that had been swept away by Baron Haussmann’s regeneration of the city. The chapter considers Puccini’s conception of Bohemianism, demonstrating that it had Italian as well as French roots. It examines the composer and his librettists’ reading of certain archetypal Bohemian figures, such as the good-hearted demimondaine, and of symbolic Parisian locations, such as the pavement café. The chapter concludes with a consideration of Puccini’s representation of ‘picturesque poverty’ and discusses the ways in which directors have attempted to make the work more or less gritty through their stagings.

Situated Dancing: Notes from Three Decades in Contact with Phenomenology

2011 ◽  
Vol 43 (2) ◽  
pp. 5-18 ◽  
Author(s):  
Ann Cooper Albright
Keyword(s):  
Civil Rights ◽  
Geographic Distance ◽  
Modern Dance ◽  
Western Philosophy ◽  
Academic Experience ◽  
Dance Class ◽  
Phenomenology Of Perception ◽  
The Right ◽  
The Way

I began to study philosophy at the same time that I began to study dance, at college in the early 1980s. Both of these choices surprised me at first, as I had originally planned to study politics and become a civil rights lawyer after college. I see now that these two areas of inquiry were routes toward figuring out how to bridge the divides between my academic self and my increasingly explosive physicality. Figuratively as well as literally divided into day and night, my academic experience and the club scene I thrived in were separated by geographic distance and differing class values—a study in the cultural bifurcation produced by the hierarchies of brain and brawn. But these body/mind boundaries were always porous for me, and they became increasingly so as I explored the epistemological origins of the Cartesian split in my survey of Western philosophy course while also taking my first modern dance class. My desire was to become both verbally and physically articulate, and I savored those moments when vague impulses or ideas found the right expressive gesture or crucial wording. By the time I was a senior, I was choreographing a quartet and writing a thesis on Maurice Merleau-Ponty's Phenomenology of Perception (1962). Somewhere along the way, philosophy and dance leaned into one another, beginning a duet that would lead to a life spent thinking and moving.

scholarly journals Beyond Belief: Japanese Approaches to the Meaning of Religion

2010 ◽  
Vol 39 (2) ◽  
pp. 133-149 ◽  
Author(s):  
James Mark Shields
Keyword(s):  
Religious Context ◽  
Late Nineteenth ◽  
Ways Of Thinking ◽  
The Way

For several centuries, Japanese scholars have argued that their nation’s culture—including its language, religion and ways of thinking—is somehow unique. The darker side of this rhetoric, sometimes known by the English term “Japanism” (nihonjinron), played no small role in the nationalist fervor of the late nineteenth and early twentieth centuries. While much of the so-called “ideology of Japanese uniqueness” can be dismissed, in terms of the Japanese approach to “religion,” there may be something to it. This paper highlights some distinctive—if not entirely unique—features of the way religion has been categorized and understood in Japanese tradition, contrasting these with Western (i.e., Abrahamic), and to a lesser extent Indian and Chinese understandings. Particular attention is given to the priority of praxis over belief in the Japanese religious context.

Raqqa: The Forgotten Excavation of an Islamic Site in Syria by the Ottoman Imperial Museum in the Early Twentieth Century

2014 ◽  
Vol 30 (1) ◽  
pp. 73-93 ◽  
Author(s):  
Ayşin Yoltar-Yildirim
Keyword(s):  
Twentieth Century ◽  
Medieval Period ◽  
Archaeological Excavation ◽  
Early Twentieth Century ◽  
Archival Documents ◽  
History Of ◽  
Late Nineteenth ◽  
Islamic Archaeology ◽  
Shed Light ◽  
The Way

Raqqa, in Syria, was the only Islamic site excavated by the Ottoman Imperial Museum during its existence in the late nineteenth and early twentieth century. Although the Imperial Museum may not have been searching specifically for an Islamic site of the medieval period to excavate, its response to the plundering of Raqqa, which began as early as 1899, was to pursue an archaeological excavation in a systematic manner. Two campaigns were conducted, under the directorships of Macridy and Haydar Bey, in 1905–6 and 1908 respectively. Although not lasting more than a couple of months, they were relatively important from the perspective of the Imperial Museum and Islamic archaeology at that time. This article focuses on the history of these Raqqa excavations, namely, the reasons the Imperial Museum began excavating there, how it conducted its excavations, and, finally, the finds and the way they were displayed at the Museum. Existing archival documents on the excavation, along with the earliest inventories of the finds in the Imperial Museum and the personal letters of Macridy, all hitherto unpublished, are analyzed in order to shed light on these long forgotten excavations.

Cosmopolitan Space: Political Topographies in ‘Lord Arthur Savile's Crime’

2017 ◽  
Vol 7 (2) ◽  
pp. 124-142
Author(s):  
Giles Whiteley
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Short Story ◽  
Spatial Context ◽  
Late Nineteenth Century ◽  
Henri Lefebvre ◽  
Revolutionary Politics ◽  
Late Nineteenth ◽  
The City ◽  
The Way

This essay responds to Julian Wolfreys's suggestion that Oscar Wilde's London is primarily psycho-geographical by seeking to read his texts within the historical and spatial context of late nineteenth-century London. Taking as a test the short story ‘Lord Arthur Saville's Crime’, this essay deploys the critical insights of Henri Lefebvre to suggest that Wilde's city writing engages more closely with London life than has been hitherto suggested. Following Lord Arthur on his three perambulations across the city, from Hyde Park and Piccadilly to Covent Garden, through Soho, and finally from St James's to the Embankment, the article focuses particularly on the ways in which Wilde's use of what might easily be assumed to be an incidental location, namely Cleopatra's Needle, invites us to reread the text's revolutionary politics within the context of the French Revolution. Concluding with a discussion of Wilde's treatment of London's ‘cosmopolitan space’, the essay shows that the way in which seemingly stock imagery deployed in Wilde's representation of the city may in fact be read as part of a wider and complex engagement with both the politics and the aesthetics of space.

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