“National Identity in Premodern Rus”

2010 ◽  
Vol 37 (3) ◽  
pp. 275-294 ◽  
Author(s):  
Charles Halperin
Keyword(s):  
Eighteenth Century ◽  
National Identity ◽  
Sixteenth Century ◽  
Cultural History ◽  
National Identities ◽  
Historical Background ◽  
Literary Texts ◽  
Cultural Heterogeneity ◽  
Early Eighteenth Century ◽  
Ivan The Terrible

AbstractThis article is a commentary on some of the conclusions of Serhii Plokhy's The Origin of the Slavic Nations. Premodern Identities in Russia, Ukraine and Belarus. Plokhy addressed ethnocultural (national) identities and national identity projects from the tenth to the early eighteenth century. This essay is concerned with Kievan Rus', the Mongol impact on the East Slavs, and Muscovite history from the fourteenth to the sixteenth century. It offers alternative interpretations both of the historical background which Plokhy outlines for the evolution of East Slavic peoples and of Plokhy's interpretations of various historical, political, religious and literary texts. The chronology of the translatio of the myth of the Rus' Land from Kievan Rus' to Moscow is still a matter of contention. In synthesizing the views of such historians as Edward Keenan and Donald Ostrowski, Plokhy has attributed too much influence to the Mongols on Russian institutional and cultural history. Plokhy has failed to be consistent in his application of Keenan's criticism of sources and Keenan's concept of sixteenth-century Muscovite society and culture. Finally, Plokhy somewhat oversimplifies the cultural heterogeneity of Ivan the Terrible and Ivan the Terrible's Muscovy. These criticisms are a tribute to Plokhy's challenging but inspiring monograph.

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Two Fourteenth-Century Gauntlets From Ripon Cathedral

1942 ◽  
Vol 22 (2) ◽  
pp. 113-122 ◽  
Author(s):  
James G. Mann
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
Fourteenth Century ◽  
Kind Permission ◽  
The North ◽  
Form Part ◽  
Early Eighteenth Century

The two gauntlets which were exhibited to the Society by kind permission of the Archdeacon of Richmond, on 26th November 1941, form part of the funeral achievement of Sir Edward Blackett (died 1718), hanging above his monument in the north transept of Ripon Cathedral. The achievement consists of a close-helmet of the sixteenth century with a wooden funeral crest of a falcon (for Blackett); a tabard; a cruciform sword in its scabbard, of the heraldic pattern of the early eighteenth century; and two iron gauntlets. The wooden escutcheon and pair of spurs which must once have completed the group are now missing.

‘TO MAKE OF LISBON A NEW ROME’: THE REPERTORY OF THE PATRIARCHAL CHURCH IN THE 1720S AND 1730S

2011 ◽  
Vol 8 (2) ◽  
pp. 179-214 ◽  
Author(s):  
JOÃO PEDRO D'ALVARENGA
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Dynamic Process ◽  
Historical Consciousness ◽  
Early Eighteenth Century ◽  
Performance Conditions ◽  
Portuguese Music

ABSTRACTThe elevation of the Portuguese Royal Chapel to the rank of Patriarchal Church in 1716 was part of a larger process of ‘Romanization’ – that is, of assimilation and adaptation of Roman models within Portuguese music and culture. This involved the training of numerous chaplain-singers and young Portuguese composers in Rome, as well as the importation of chant books, ministers, singers and even the maestro di cappella of the Cappella Giulia, Domenico Scarlatti. According to the anonymous ‘Breve rezume de tudo o que se canta en cantochaõ, e canto de orgaõ pellos cantores na santa igreja patriarchal’ (Brief summary of all that is sung in plainchant and polyphony by the singers at the holy Patriarchal Church) – a document written at some point between 1722 and 1724 – the repertory of the Patriarchal Church was a varied mixture of works by thirty-two identified composers, mostly Italian and Portuguese, from a period ranging from the sixteenth century to the early eighteenth century. Some of the repertory for Holy Week is also extant in three large choirbooks prepared by a copyist from the Patriarchal Church in 1735 and 1736 for use in the Ducal Chapel in Vila Viçosa. These include ‘modern’ additions to late sixteenth-century and seventeenth-century pieces and also some curious reworkings, made with the purpose of adjusting older works to newly ‘Romanized’ performance conditions and aesthetic ideals. The sources examined in this article thus show that Portuguese ‘Romanization’, far from being a simple transplantation of ideas and practices from the centre to the periphery, was a dynamic process of acculturation and adaptation rooted in emerging forms of historical consciousness.

scholarly journals The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity

2015 ◽  
Vol 27 (1) ◽  
pp. 104
Author(s):  
Maria Berlova
Keyword(s):  
Eighteenth Century ◽  
National Identity ◽  
National Identities ◽  
European Countries ◽  
General Tendency ◽  
English Drama ◽  
National Cultures ◽  
The Enlightenment ◽  
French And English ◽  
Similarities And Differences

In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. The general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. The historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. The monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II differed somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and differences between their two theatres.

Literature and Party Politics at the Accession of Queen Anne

2017 ◽  
Author(s):  
Joseph Hone
Keyword(s):  
Eighteenth Century ◽  
Daniel Defoe ◽  
Party Politics ◽  
Alexander Pope ◽  
Literary Texts ◽  
Joseph Addison ◽  
Nahum Tate ◽  
Early Eighteenth Century ◽  
New Generation ◽  
First Time

This book is the first detailed study of the final Stuart succession crisis. It demonstrates for the first time the centrality of debates about royal succession to the literature and political culture of the early eighteenth century. Using previously neglected, misunderstood, and newly discovered material, it shows that arguments about Anne’s right to the throne were crucial to the construction of nascent party political identities. Literary texts were the principal vehicle through which contemporaries debated the new queen’s legitimacy. This book sheds fresh light on canonical authors such as Daniel Defoe, Alexander Pope, and Joseph Addison by setting their writing alongside the work of lesser known but nonetheless important figures such as John Tutchin, William Pittis, Nahum Tate, John Dennis, Henry Sacheverell, Charles Leslie, and other anonymous and pseudonymous authors. Through close historical readings, it shows how this new generation of poets, preachers, and pamphleteers transformed older models of succession writing by Milton, Dryden, and others, and imbued conventional genres such as panegyric and satire with their own distinctive poetics. By immersing the major authors in their milieu, and reconstructing the political and material contexts in which those authors wrote, this book demonstrates the vitality of debates about royal succession in early eighteenth-century culture.

scholarly journals The Retablos of Teabo and Mani: The Evolution of Renaissance Altars in Colonial Yucatán

Arts ◽  
2021 ◽  
Vol 10 (2) ◽  
pp. 23
Author(s):  
C. Cody Barteet
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
San Antonio ◽  
Strong Affinity ◽  
Early Eighteenth Century

From the turn to seventeenth through the early eighteenth century, three retablos (altarpieces) were created in Yucatán that relied on a similar Renaissance design. The retablos located in the ex-convents of Mani and Teabo all adopt the Spanish sixteenth-century Renaissance style of the Plateresque. Further, the retablos are connected by the inclusion of caryatid framing devices that establishes a strong affinity among the works. Two of the retablos are located in Mani: the Retablo of San Antonio de Padua and the Retablo of Nuestra Señora de Soledad (or sometimes called the Dolores Retablo). At Teabo is the Retablo de Santa Teresita del Niño Jesús (or Las Ánimas). This paper explores the relationships among the retablos by considering their iconography and their styles to address the retablos’ dates and their current locations. While offering insights about these retablos, this contribution also provides a rich discussion of the thriving artistic industry that was present in Yucatán.

Fr. Charles Shireburn: An Early Eighteenth Century Jesuit

2008 ◽  
Vol 29 (1) ◽  
pp. 44-47
Author(s):  
Geoffrey Holt
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
Early Eighteenth Century ◽  
Exact Relationship ◽  
Poor Relation

The accounts kept by Sir Nicholas Shireburn of Stonyhurst with his goldsmith for the years 1697–1702 and the following years show that he was paying for the education at St. Omers College of two Shireburn ‘nephews’, Charles and Richard or ‘Dick’. The exact relationship is not known, ‘sons of a poor relation’, ‘distant relations’, ‘connected with the Shireburnes of Stonyhurst but the exact connection is uncertain’. When Charles Shireburn died in 1745The Gentleman’s Magazinestated that he was related to the Dowager Duchess of Norfolk, Mary, daughter of Sir Nicholas Shireburn.The Extinct Baronetciesshows that some of the Shireburns of Stonyhurst in the sixteenth century had younger sons. Charles and Richard may have been descended from one of these.

The Wearing of the Red: The Redcoat and the British Brand

Costume ◽  
2007 ◽  
Vol 41 (1) ◽  
pp. 99-104 ◽  
Author(s):  
Nigel Arch
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Cultural History ◽  
Visual Arts ◽  
Jane Austen ◽  
Polite Society ◽  
History Of ◽  
The Creation

As a concept, the idea of product branding offers insights into the history of uniform in Britain. The creation of a brand, by which a product is understood and recognised by its name, fits the cultural history of the red coat, that part of his uniform by which the British infantryman was known for over three hundred years. While the earliest references to the redcoat in this context occur in the sixteenth century, it is really from the eighteenth century onwards that the term becomes widely employed to denote the soldier. However, a review of royal portraiture in Britain from the late seventeenth century onwards also reveals that monarchs used the red coat as a way of uniting the ideals of patriotism with the monarch — a device that was particularly important for the Hanoverian dynasty. Both literature and the visual arts helped identify the red coat as a synonym for the soldier. Numerous references may be adduced, from Jane Austen writing of polite society, to Rudyard Kipling's Tommy. Lady Elizabeth Butler was perhaps the most famous artist to depict red-coated heroes in battles, which marked the defence or development of the Empire.

scholarly journals Isaac Olsens kopibok som kulturuttrykk på tidlig 1700-tall

2017 ◽  
Vol 14 ◽  
pp. 60-84
Author(s):  
Liv Helene Willumsen
Keyword(s):  
Eighteenth Century ◽  
Popular Culture ◽  
Cultural History ◽  
Historical Source ◽  
Cultural Expression ◽  
Northern Norway ◽  
Early Eighteenth Century ◽  
Contemporary Practice ◽  
The Voice ◽  
Insight Into

Isaac Olsen's Copy Book as a Cultural Expression of the Early Eighteenth Century.This article deals with a copy book written by Isaac Olsen, dating from the early eighteenth century. Isaac Olsen was a teacher and catechist working among the Sami people in the region of Finnmark, Northern Norway. He was a predecessor of the Sami missionary Thomas von Westen. Isaac Olsen left a handwritten copy book of nearly 1000 pages, today preserved in The Museum of Cultural History in Oslo, Norway. The copy book is a compilation of documents related to Isaac Olsen’s work and person. Most of the documents are written in his own hand, but the book also contains documents written by governmental officials such as regional governors and provosts, and even the king in Copenhagen. The article focuses on the voices that may be heard in the texts contained in Isaac Olsen’s copy book: the pedagogical voice, the religious voice, the voice of popular culture, the voices of state officials. Attention is also paid to the contemporary practice of writing and the practice of professional copying. Isaac Olsen’s copy book, which dates from the early 1700s, is seen as a valuable historical source that may give insight into the mental horizon of an individual as well as knowledge about the society in which he lived.

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