Henry Bence-Jones, M. D. , F. R. S. (1813-1873)

1973 ◽  
Vol 28 (1) ◽  
pp. 31-56 ◽  
Keyword(s):  
Nineteenth Century ◽  
Diagnosis And Treatment ◽  
Animal Tissues ◽  
Physical Sciences ◽  
Early Nineteenth Century ◽  
Scientific Principles ◽  
Chemical Knowledge ◽  
The Subject ◽  
Living Organisms ◽  
To Receive

Many leading nineteenth-century physicians recognized the need to reduce the empirical element in medicine and to base both diagnosis and treatment more firmly upon scientific principles. In an age when chemistry was a rapidly developing science it seemed that animal chemistry, dealing with the materials and functions of living organisms, might well offer the best solution to the problem. Thus the development of the subject for medical purposes became one of the main objectives of animal chemists, although from hindsight it is clear that neither the techniques nor the chemical knowledge available were at all adequate for solving the complex problems involved. Yet chemists like Fourcroy and Berzelius tried to understand the chemistry of life and their results seemed to support the widely held view that a knowledge of the composition of animal tissues, together with an understanding of the natural functions in health, would aid medical diagnosis and treatment by exposing the faults present in disease. In early nineteenth-century England there was a lively interest in this subject (I) and some physicians became very successful in applying chemical principles to medicine, but despite the evident value of animal chemistry the novelty of the subject caused medical schools to be reluctant to introduce it into their curricula. Medical students continued to receive instruction in the classics but the physical sciences were frequently neglected.

Courting the Cerebellum: Early Organological and Phrenological Views of Sexuality

1987 ◽  
Vol 20 (2) ◽  
pp. 173-199 ◽  
Author(s):  
Michael Shortland
Keyword(s):  
Nineteenth Century ◽  
Popular Science ◽  
Theory And Practice ◽  
Early Nineteenth Century ◽  
The Subject ◽  
The Moment ◽  
First Time ◽  
To Receive ◽  
British Culture ◽  
Valuable Function

Although phrenology has begun to receive serious attention as a doctrine of mind, as popular science, as part of medical history, as a vehicle for social and ideological interests, and as an important component of American and European (especially British) culture in the early nineteenth century, there is one aspect of it which has evaded the eye of contemporary historians.’ This is the place within phrenology of the understanding of human sexuality. This is a subject of manifest general historical interest, and one whose neglect by scholars seems all the more striking once it is recognized that phrenologists themselves often judged it the most crucial, the best evidenced, and the most impressive part of their system of beliefs. In turning for the first time to phrenological attitudes to sex, my objective in what follows is not to offer an exhaustive treatment but rather to set down the broad lines of development followed by organological and phrenological doctrines. It is hoped that this will encourage and enable historians to consider the subject in further detail and from other perspectives. Other topics of research may also be suggested by the material that is presented here. For example, if phrenology was as important in the early decades of the nineteenth century as is now widely accepted, and if the views of sexual instinct within the theory and practice of phrenology were of the kind which I shall suggest, then it may be that our general attitudes to sexuality during the period under consideration stand in need of reassessment. This is an issue to which I hope to devote a further article; for the moment, a presentation of materials within a mainly expository framework may serve a valuable function.

Commentary: A Stroll in the Piazza and a Night at the Opera

2006 ◽  
Vol 36 (4) ◽  
pp. 621-628
Author(s):  
Mary Ann Smart
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
Civil Society ◽  
Social Engagement ◽  
Early Nineteenth Century ◽  
National Discourse ◽  
Music Journalism ◽  
The Subject ◽  
Giacomo Leopardi

Giacomo Leopardi was convinced that the willingness of Italians to wallow passively in operatic spectacle was an important reason for Italy's lack of a civil society based on debate and the exchange of opinions. Despite recent proposals that opera and opera going constituted signiªcant means of social engagement and contributed to regional and/or national identity, the preoccupations of early nineteenth-century music journalism suggest that opera existed outside the mainstream of both political and aesthetic debate, and was not yet the subject of a truly vibrant national discourse.

Romantic Periodicals in the Twenty-First Century

2020 ◽  
Keyword(s):  
Nineteenth Century ◽  
First Century ◽  
British Romanticism ◽  
Early Nineteenth Century ◽  
Periodical Studies ◽  
Digital Resources ◽  
Literary Periodicals ◽  
Late Eighteenth ◽  
The Subject ◽  
Twenty First Century

While the twenty-first century has brought a wealth of new digital resources for researching late eighteenth- and early nineteenth-century serials, the subfield of Romantic periodical studies has remained largely inchoate. This collection sets out to begin tackling this problem, offering a basic groundwork for a branch of periodical studies that is distinctive to the concerns, contexts and media of Britain’s Romantic age. Featuring eleven chapters by leading experts on the subject, it showcases the range of methodological, conceptual and literary-historical insights to be drawn from just one of the era’s landmark literary periodicals, Blackwood’s Edinburgh Magazine. Drawing in particular on the trove of newly digitised content, specific essays model how careful analyses of the incisive and often inflammatory commentary, criticism and original literature from Blackwood’s first two decades (1817–37) might inform and expand many of the most vibrant contemporary discussions surrounding British Romanticism.

A Latin Epitaph of the Early Nineteenth Century

1936 ◽  
Vol 5 (14) ◽  
pp. 121-122
Author(s):  
D. A. Macnaughton
Keyword(s):  
Nineteenth Century ◽  
Rural Area ◽  
Early Nineteenth Century ◽  
Parish Church ◽  
Precise Meaning ◽  
High Esteem ◽  
The Subject ◽  
The Impact

This epitaph is on a tombstone in the churchyard of Kenmore, Perthshire, a little village on the shores of Loch Tay, close to the point at which the river leaves the parent lake. In the early nineteenth century Kenmore had some importance as the market of a wide rural area and as containing the parish church and parish school. The epitaph is the work of the son, William Armstrong, who succeeded to his father's post and died in 1879. Purists might perhaps take exception to the post-classical authority of puritate, but it will be generally allowed that as the composition of the Headmaster of a rural parish school its Latinity is as remarkable as its pietas. It is to be regretted that the author left no pupil to pay him a fitting tribute in the same tongue. But among his alumni there were many who remembered his teaching with admiring gratitude. Of these was one of the principal farmers of the district who told me years ago that he held Latin in high esteem as the subject which, as he put it, ‘opened his head’. His precise meaning eluded me until in later years I reflected that Highland farmers have a gift of imagination and a command of terse and figurative expression. Clearly what he implied was that, just as, when Hephaestus split the skull of Zeus, Athene sprung out in full panoply, so the impact of the lene tormentum of Latin on his own brain let wisdom loose.

Cubes

2018 ◽  
Author(s):  
Mark Blacklock
Keyword(s):  
Nineteenth Century ◽  
Detailed Account ◽  
Material Object ◽  
Late Nineteenth Century ◽  
Modernist Poetry ◽  
Avant Garde ◽  
Scientific Principles ◽  
The Subject ◽  
Late Nineteenth

Chapter 4 focuses on the work of Charles Howard Hinton, author of the first Scientific Romances and the least well-known yet most influential theorist of higher space of the late nineteenth century. ‘Hinton was an important mediating figure,’ writes Steven Connor, ‘because, like some of the physical scientists who investigated Spiritualism, his grasp of scientific principles was extensive and subtle.’ Indeed, his work fed into the literature of occult groupings, avant-garde art, Modernist poetry and fiction, and also back into geometry and orthodox science. ‘Cubes’ give a detailed account of Hinton’s work, highlighting his acknowledged and implied sources, Kepler, Kant, and his father, before focusing on his invention of a system of cubes for training the subject in the visualization of higher space. This set of cubes are read as ‘quasi-objects’, things that make fluid the distinction between thinking thing and thing thought on, between mind and material object.

The Distant Past as Mirror and Metaphor

2020 ◽  
pp. 108-134
Author(s):  
Diana R. Hallman
Keyword(s):  
Nineteenth Century ◽  
Early Modern ◽  
Historical Novel ◽  
Early Nineteenth Century ◽  
Political Dynamics ◽  
The Subject ◽  
The Aesthetic ◽  
Grand Opera

Historical settings—especially those from the medieval and early modern periods—were central to the aesthetic of grand operas of the 1830s and 1840s. This historical aesthetic is clearly evident in the four works that are the subject of this chapter: La Reine de Chypre, Charles VI, La Juive and Les Huguenots. The enormous popularity of these historical settings reflected a more general fascination with the distant past among early nineteenth-century Europeans, a fascination that was also manifest in genres such as the historical novel. But the music and drama of grand opera also mirrored contemporary events, reflecting the tensions that were shaping the rapidly changing social and political dynamics of the present.

Samuel Palmer, John Martin, and John Sell Cotman

2018 ◽  
Vol 22 (1-2) ◽  
pp. 40-57
Author(s):  
Kathleen Stuart
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
Spiritual Meaning ◽  
Romantic Era ◽  
The Subject ◽  
Interpretive Process

Abstract This article considers how a viewer identifies spiritual meaning in landscape images of the Romantic era as well as the role of artists’ statements about their work in a viewer’s interpretive process. It examines landscapes by Samuel Palmer and John Martin, two early nineteenth-century British artists known for the spiritual content of their work, and the connection between the work and their published statements about it. The article also considers the “secular” landscapes by their contemporary John Sell Cotman for the work’s possible spiritual meaning despite the absence of published comments by the artist on the subject.

scholarly journals ‘An Unnatural Crime’: Infanticide in Early Nineteenth-Century Ireland

2019 ◽  
Vol 46 (1) ◽  
pp. 66-110 ◽  
Author(s):  
James Kelly
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Quantitative Analysis ◽  
Previous Investigation ◽  
Qualitative Approach ◽  
Violent Death ◽  
Sharp Rise ◽  
Early Nineteenth Century ◽  
To Receive ◽  
Taking Care

Infanticide reached record levels in Ireland in the mid-nineteenth century. Although the rising population and increasing poverty provided the essential precondition for this, the sharp rise in the practice identified by contemporaries in the 1820s and 1830s might not have taken place had the Dublin and Cork Foundling Hospitals continued to assume responsibility for the care of foundling children. But once they were no longer available to receive them, the women who give birth to the children that society identified as illegitimate chose to terminate their lives in record numbers in an attempt to avoid the severe stigma that this brought and the practical difficulties of taking care of a child alone. Using the cases that came before the coroners court and the crime figures assembled by the Royal Irish Constabulary from the 1830s, this article combines the quantitative analysis of the practice that this permits with a reliance on the qualitative approach that informed a previous investigation of the phenomenon in the eighteenth century to track its evolving trajectory, to identify its main features and to explain how it had arrived at a point by the 1840s when it exceeded homicide as the primary cause of violent death.

Thomas Chalmers, David Nasmith, and the Origins of the City Mission Movement

2004 ◽  
Vol 76 (1) ◽  
pp. 31-46
Author(s):  
Ian J. Shaw
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Common Ground ◽  
Lay Leadership ◽  
Early Nineteenth Century ◽  
Urban Mission ◽  
The Subject ◽  
Mission Movement ◽  
The City

The development of important models for urban mission took place in early nineteenth-century Glasgow. Thomas Chalmers’ work is widely known, but that of David Nasmith has been the subject of less study. This article explores the ideas shared by Chalmers and Nasmith, and their influence on the development of the city mission movement. Areas of common ground included the need for extensive domestic visitation, the mobilisation of the laity including a middle- class lay leadership, efficient organisation, emphasis on education, and discerning provision of charity. In the long term Chalmers struggled to recruit and retain sufficient volunteers to sustain his parochial urban mission scheme. However, Nasmith’s pan-evangelical scheme succeeded in attracting a steady stream of lay recruits to work as city missioners, as well as mission directors. Through their agency a significant attempt was made to reach those amongst the urban masses who had little or no church connection.

The Life and Death of The Harmonicon: An Analysis

1989 ◽  
Vol 22 ◽  
pp. 137-163 ◽  
Author(s):  
Leanne Langley
Keyword(s):  
Nineteenth Century ◽  
Financial Distress ◽  
The State ◽  
Early Nineteenth Century ◽  
The Real ◽  
Life And Death ◽  
Average Lifespan ◽  
The Subject ◽  
A Current

Between 1800 and 1845 some 30 periodicals devoted to music were launched in Britain, nearly all of them attributing their appearance to a current ‘general’, ‘wide’, ‘perfect’ or ‘increasing’ cultivation of the subject. But the real flurry of activity seems to have been in publishing rather than music. The average lifespan of a single musical journal in this period was only about two years and four months; most lasted a year or less and died from financial distress. From this record, one might question not only the state of genuine musical cultivation in early nineteenth-century England but also the rationale of editors, printers, publishers and proprietors who continued to produce for a marginal, certainly elusive, musical audience.

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