The Mingling of Opera Genres

2020 ◽  
pp. 184-204
Author(s):  
Yannick Simon
Keyword(s):  
Nineteenth Century ◽  
Capital City ◽  
Late Nineteenth Century ◽  
Pierre Corneille ◽  
The Public ◽  
National System ◽  
French Opera ◽  
Late Nineteenth ◽  
Regional Theaters ◽  
The One

This chapter analyzes in depth the operas performed in the late nineteenth century in Rouen. The repertory that was produced from 1882 in the new Théâtre des Arts illustrates how a provincial theater would differ significantly, in terms of the genres presented, from the Opéra or the Opéra-Comique in Paris. Like all regional theaters, the one in Rouen adapted itself to the constraints of a national system shaped by Parisian production, but it was also expected to defer to local tastes and performing conditions. The public thus saw a much greater variety of genres than was presented in the capital city. The new works produced there were often objects of local pride; for example, since Pierre Corneille had been born locally, the theater produced Jules Massenet’s setting of Le Cid. This chapter is paired with Patrick Taïeb and Sabine Teulon Lardic’s “The evolution of French opera repertories in provincial theaters: Three epochs, 1770–1900.”

scholarly journals The Meat City: urban space and provision in industrial Copenhagen, 1880–1914

Urban History ◽  
2017 ◽  
Vol 45 (2) ◽  
pp. 233-252
Author(s):  
MIKKEL THELLE
Keyword(s):  
Nineteenth Century ◽  
Urban Space ◽  
The Other ◽  
Late Nineteenth Century ◽  
The Public ◽  
Production And Consumption ◽  
Late Nineteenth ◽  
Ambivalent Attitude ◽  
The One ◽  
The City

ABSTRACT:This article investigates the emergence of the Copenhagen slaughterhouse, called the Meat City, during the late nineteenth century. This slaughterhouse was a product of a number of heterogeneous components: industrialization and new infrastructures were important, but hygiene and the significance of Danish bacon exports also played a key role. In the Meat City, this created a distinction between rising production and consumption on the one hand, and the isolation and closure of the slaughtering facility on the other. This friction mirrored an ambivalent attitude towards meat in the urban space: one where consumers demanded more meat than ever before, while animals were being removed from the public eye. These contradictions, it is argued, illustrate and underline the change of the city towards a ‘post-domestic’ culture. The article employs a variety of sources, but primarily the Copenhagen Municipal Archives for regulation of meat provision.

scholarly journals IL SIGNIFICATO DEL BICENTENARIO. COME UNA CONCLUSIONE

2013 ◽  
pp. 175-178
Author(s):  
Giorgio Pestelli
Keyword(s):  
Nineteenth Century ◽  
Social Contexts ◽  
Late Nineteenth Century ◽  
Musical Drama ◽  
Contemporary Theatre ◽  
The Public ◽  
Bourgeois Society ◽  
Previous Generation ◽  
Art And Culture ◽  
Late Nineteenth

The meaning of the bicentenary that solemnizes Verdi and Wagner two hundred years after their birth essentially derives from the emotion of facing two personalities extraordinary for their creative energy and inventive continuity. In all fields of art and culture, the late Nineteenth century image is conditioned by their presence. Born the very same year, they both looked for and created by themselves the accomplishments that musicians of the previous generation already possessed when they were barely twenty years old. They reached almost at the same time both the revelation of their personality (Der fliegende Holländer 1841, Nabucco 1842), and the fullness of their artistic means (Rigoletto 1851, Der Rheingold 1853), before attaining the acme of their trajectory with the astonishing operosity of their final years.While the analogy of this parallel course is impressive, the individuality of their creative patrimony is no less strong. This dissimilarity – more than on aesthetic or dramaturgic reasons, such as the distinction between naif and sentimental, or between “melodrama” and “musical drama” – rests on the different environments where it took root, each of them with its own alternative ideas of bourgeois society, of relationship with the public, the contemporary theatre and literature: that’s why it is important today to engage to enlighten the cultural and social contexts in which the genius of the two masters developed.

Some Late Nineteenth Century Perspectives on Sex and Emotional Expression

2000 ◽  
Vol 86 (2) ◽  
pp. 575-585 ◽  
Author(s):  
Ellen B. Braaten ◽  
Wayne Viney
Keyword(s):  
Nineteenth Century ◽  
Sex Differences ◽  
Emotional Expression ◽  
Public Interest ◽  
Scientific Research ◽  
Popular Literature ◽  
Popular Media ◽  
Late Nineteenth Century ◽  
The Public ◽  
Late Nineteenth

A review of nineteenth century popular literature indicates a deep and sustained public interest in sex differences in emotional expression. The conclusions advanced by popular writers included a catalog of perceived sex differences, reinforced by an essentialist philosophy that provided justification for the separation of sexual spheres and restrictions on political, educational, and vocational opportunities for women. Current scientific research on sex differences appears in popular media and is often presented in the context of an essentialist philosophy comparable with that which was dominant in the nineteenth century. Unfortunately, the subtleties and complexities of sex differences are not always communicated to the public and there is thus a potential for misinterpretation or even misuse.

Municipal Activism in Late-Nineteenth-Century Prague: The House Numbered 207-V and Ghetto Clearance

2003 ◽  
Vol 34 ◽  
pp. 247-278
Author(s):  
Cathleen M. Giustino
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Municipal Governments ◽  
Central European ◽  
The Public ◽  
Public Projects ◽  
European Cities ◽  
Common Process ◽  
History Of ◽  
Late Nineteenth

There was always much that was ordinary about the house numbered 207-V up to the time of its disappearance from Prague's built landscape in 1905. Like many other buildings sheltering some of the city's most underprivileged residents, this place had no artistic worth; no one had contemplated hanging a plaque on its exterior to commemorate a well-known person having slept inside its walls; no published material pointed out any history-altering event that took place behind or in front of its doors. The ordinariness of house 207-V becomes even greater when its final years are situated within the history of a common process taking place, with some exceptions, throughout nineteenth-century Central Europe. Many of the structure's last experiences were part of the growth of what German historians of Germany have called the “Leistungsverwaltung,” and what Austrian historians of Austria- Hungary have called “die aktive Stadt.”1 These two different lab ls are used to describe the fact that during the course of the nineteenth century, a great many Central European cities expanded tremendously, not only in terms of their territoriesś populations, but also in terms of the number and extent of public projects that their municipal governments managed. The public projects included, among others, gas and electric works, transportation lines, sewers, baths, parks, libraries, museums, market halls, slaughterhouses,

scholarly journals A EUROPEAN WITH A UKRAINIAN SOUL

2017 ◽  
pp. 111-120
Author(s):  
Ivan Zabyaka
Keyword(s):  
Nineteenth Century ◽  
The Other ◽  
Foreign Languages ◽  
Late Nineteenth Century ◽  
Literary Critic ◽  
Classical Literature ◽  
Level Of Education ◽  
Late Nineteenth ◽  
The One ◽  
High Level

The article deals with Vasyl Gorlenko, one of the most prominent Ukrainian culturologists of the late nineteenth century – beginning of the XX century. Whose name on the one hand did not belong to the forgotten names: it is fixed in all professional encyclopedias, many articles have been written about it, it is mentioned in the memoirs of contemporaries, there are even three monographs, on the other hand all this is very small, going out from what was done by Vasily Petrovich. There are a lot of problems raised in the writings of V. Gorlenko. There are some that are extremely important. It was established that studying at the famous Sorbonne, he passed the beautiful school of the French theoretician of literature and art critic Ivan T., French classical literature and art, thus receiving a high level of education, education of the best spiritual traits of behavior, possessed at least 5 foreign languages. It was discovered that when V.Gorlenko returned to his homeland, he first met in St. Petersburg with many prominent figures who came from his native land. One of these places of acquaintances is "Tuesdays" by M. Kostomarov. It was on them that V. Gorlenko was a true school of Ukrainian studies. And when Ukraine appeared periodicals that were in line with its patriotic interests, V. Gorlenko began to work with them. In the newspaper Trud, after twenty years of actual silence about T. Shevchenko, the first in Ukraine is a fragment of Russian tales of Taras Shevchenko "A walk with pleasure and not without morality" and the story "The Musician" with some reproach to everyone else who hadn’t done it already. It was found out that the Ukrainian elite rallied around the magazine "Kievan old woman" (1882-1906): V. Antonovich, D. Bagaliy, M. Belyashivsky, P. Golubovsky, V. Domanytsky, P. Efimenko, P. Zhitetsky, O. Lazarevsky, O. Levitsky, M. Sumtsov, V. Tarnovsky and many others. Here were M. Drahomanov, M. Kostomarov, V. Vynnychenko, Panas Mirnyi, I. Franko, M. Staritsky and dozens of other Ukrainian scholars and writers. Among them Vasyl Horlenko. Currently, 114-th of his publications, contained in this publication, are known. Articles, reviews, reviews of publications, information, folk records - each of these publications is an example of scientific conscientiousness and responsibility of the author. It was here that his multifaceted talent of journalist, literary critic and historian, ethnographer and folklorist, art historian, expert in Ukrainian antiquity was revealed. Quite often, V.n Gorlenko was the first, who write about the works of P. Mirny, I. Franko, I. Karpenko-Karyi, M. Kropivnitsky, I. Manzhuro and many others. Invaluable source in the study of both the personality of V. Gorlenko and his environment is his correspondence. Currently, there are about 40 recipients and more than 700 letters to him and partly to him. He corresponded with many Ukrainian and foreign writers, scholars, and cultural figures. He loved Ukraine most of all and was afraid of those revolutions that were devastated, death, spiritual impoverishment, barbarism; advocated the steadfast development of society, feeling as an integral part of its people, small and great Nature. Therefore, it remained for us a bright star of the unimpeded space of culture.

Singing Herself: Adelina Patti and the Performance of Femininity

2018 ◽  
Vol 71 (2) ◽  
pp. 287-369
Author(s):  
Roger Freitas
Keyword(s):  
Nineteenth Century ◽  
Late Nineteenth Century ◽  
Perfect Equilibrium ◽  
Way Of Life ◽  
Performance Style ◽  
The Public ◽  
Central Aspect ◽  
Late Nineteenth ◽  
Mode A

By any measure, Adelina Patti (1843–1919) must be considered the leading singer, if not the leading musician, of the later nineteenth century. Her sizable body of recordings (twenty-eight) makes her a key witness to late nineteenth-century performance style. Her great celebrity also ensured lavish written documentation of her life, including what she did, what people said about her, and sometimes what she said about herself. In this article I bring together these two types of material to consider a central aspect of Patti's life and artistry: her relationship to contemporary notions of femininity. Like all women who entertained before the public, Patti contended with the taint of immorality. I argue that her response to that taint shaped both her overall conduct and her particular vocalism. For while in truth her way of life fundamentally contradicted the reigning ideals of womanhood, Patti projected in her dress, her makeup, her public statements, her published imagery, and, most importantly, her stage characterizations and vocal styling the most perfect manifestation of femininity available: the virginal ingénue. The consistency of this self-performance encourages the identification of a similar persona in her singing, and indeed through close readings of several recordings I expose what I call her “maidenly mode,” a vocal strategy analogous to her other ingenuous representations. If many, like Verdi, found in Patti a “perfect equilibrium between singer and actress,” her example can begin to suggest to us what it meant to sound like an ingénue in late nineteenth-century Europe.

scholarly journals Saxon Kent versus Roman London? Presenting Borderland Heritage at the Faesten Dic in Joyden’s Wood, Kent

2020 ◽  
Vol 2 ◽  
pp. 1
Author(s):  
Ethan Doyle White
Keyword(s):  
Nineteenth Century ◽  
Fifth Century ◽  
Late Nineteenth Century ◽  
Historical Evidence ◽  
The Public ◽  
Western Border ◽  
Late Nineteenth

Standing on Kent’s western border with Greater London, the Faesten Dic in Joyden’s Wood is one of Britain’s less-well known linear earthworks. There has been speculation as to its origins since the late nineteenth century, although as of yet no conclusive dating evidence has been revealed. This article reviews the archaeological and historical evidence for the site, before exploring the ways in which the heritage of this earthwork has been presented to the public by the Woodland Trust, a charity which own Joyden’s Wood, focusing on how both information boards and installed sculptures have foregrounded the narrative of the earthwork as a fifth-century defensive barrier between ‘Roman London’ and ‘Saxon Kent.’ This, in turn, has interesting connotations regarding the current administrative divisions between Greater London and Kent.

scholarly journals ‘Tolerable Intolerance’: Protestantism, Sectarianism and Voluntary Hospitals in Late-nineteenth-century London

2018 ◽  
Vol 62 (4) ◽  
pp. 468-484 ◽  
Author(s):  
Carmen M. Mangion
Keyword(s):  
Nineteenth Century ◽  
Daily Life ◽  
Religious Practices ◽  
Late Nineteenth Century ◽  
College Hospital ◽  
Hospital Funding ◽  
The Public ◽  
Late Nineteenth ◽  
Hospital Practices ◽  
Hospital Wards

This article interrogates the complicated understanding of sectarianism in institutional cultures in late-nineteenth-century England through an examination of the practice of religion in the daily life of hospital wards in voluntary hospitals. Voluntary hospitals prided themselves on their identity as philanthropic institutions free from sectarian practices. The public accusation of sectarianism against University College Hospital triggered a series of responses that suggests that hospital practices reflected and reinforced an acceptable degree of ‘tolerable intolerance’. The debates this incident prompted help us to interrogate the meaning of sectarianism in late nineteenth-century England. How was sectarianism understood? Why was it so important for voluntary institutions to appear free from sectarian influences? How did the responses to claims of sectarian attitudes influence the actions of the male governors, administrators and medical staff of voluntary hospitals? The contradictory meanings of sectarianism are examined in three interrelated themes: the patient, daily life on the wards and hospital funding. The broader debates that arose from the threat of ‘sectarianism in hospital’ uncovers the extent to which religious practices were ingrained in hospital spaces throughout England and remained so long afterwards. Despite the increasing medicalisation and secularisation of hospital spaces, religious practices and symbols were embedded in the daily life of voluntary hospitals.

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