Text and Determination

2016 ◽  
Vol 1 (1-4) ◽  
pp. 79-104
Author(s):  
Markus Messling
Keyword(s):  
19Th Century ◽  
Scientific Models ◽  
Biblical Narrative ◽  
Determining Factors ◽  
History Of ◽  
Racial Thought ◽  
Textual Culture ◽  
The One ◽  
The 19Th Century ◽  
Cultural Strength

Protagonists of the ‘philological turn’ have claimed philology to be a self-reflective praxis. The history of modern philology however demonstrates that this can only be understood as a demand. All too often, philological conceptions went hand in glove with a deterministic anthropology. Whereas current research on the nexus between philology and racial thought focus on how biopolitical assumptions could be applied within philological disciplines, the idea of a ‘hard’ anthropological nucleus and a ‘soft’ textual culture referring to it needs to be revised. Because of their methodological potential and cultural strength, European philologies were scientific models up to the second half of the 19th century and relied on the same epistemic assumptions from which ‘modern’ raciological discourses were born. This comes mainly from the relation established since the 17th century between the variety of languages, scripts and textual cultures on the one hand, and rationality on the other. The arguments that stem from this discourse of a challenged universalism were amalgamated with genealogical thought in 19th century philology and an obsession with origins as the biblical narrative faded away. Thus, spiritual or cognitive forms, understood as determining factors in historical evolution, could then be linked to an assumed ‘original’ intellectual or anthropological potentiality. However, raciological conceptualizations have been far from being without alternative. My paper argues that if the return to philology aims to be more than a reaction to the normative loss of textual culture, then the epistemological struggle within the history of philology needs to be reflected in its relevance for any ‘future’ philology.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>

scholarly journals Kant, Nietzsche and the idealization of friendship into nihilism

2013 ◽  
Vol 54 (128) ◽  
pp. 401-417
Author(s):  
Paul van Tongeren
Keyword(s):  
19Th Century ◽  
Literary Imagination ◽  
The Other ◽  
Other Hand ◽  
History Of ◽  
The One ◽  
Articles Of Faith ◽  
The 19Th Century

Is friendship still possible under nihilistic conditions? Kant and Nietzsche are important stages in the history of the idealization of friendship, which leads inevitably to the problem of nihilism. Nietzsche himself claims on the one hand that only something like friendship can save us in our nihilistic condition, but on the other hand that precisely friendship has been unmasked and become impossible by these very conditions. It seems we are struck in the nihilistic paradox of not being allowed to believe in the possibility of what we cannot do without. Literary imagination since the 19th century seems to make us even more skeptical. Maybe Beckett provides an illustration of a way out that fits well to Nietzsche's claim that only "the most moderate, those who do not require any extreme articles of faith" will be able to cope with nihilism.

Literary History of Bengal, 8th-19th century AD

2018 ◽  
Author(s):  
Thibaut d'Hubert
Keyword(s):  
South Asia ◽  
19Th Century ◽  
Literary History ◽  
Political Transitions ◽  
Literary Identity ◽  
History Of ◽  
The One ◽  
Narrative Forms ◽  
Literary Practices ◽  
The 19Th Century

The literary history of Bengal is characterized by a multilingual ecology that nurtured the development of Middle Bengali literature. It is around the turn of the second millennium, during the Pāla period (c. 8th–12th century), that eastern South Asia became a major region for the production of literary texts in Sanskrit and Apabhramsha. Early on, Bengal developed a distinct literary identity within the Sanskrit tradition and, despite abrupt political transitions and the fragmentation of the landscape of literary patronage, fundamental aspects of the literary culture of Pāla Bengal were transmitted during later periods. It was during the Sultanate period, from the 14th century onward that courtly milieus began to cultivate Middle Bengali. This patronage was mostly provided by upper-caste Hindu dignitaries and (in the case of lyric poetry at least) by the Sultans themselves. During the period ranging from the 15th to the early 19th centuries, vernacular literature can be divided into two broad categories: short narrative forms called padas or gītas (songs), which were often composed in an idiom derived from songs by the Old Maithili poet Vidyāpati (c. 1370–1460); and long narrative forms in Middle Bengali called pā̃cālīs, which are characterized by the alternation of the prosodic forms called paẏār and tripadī and the occasional insertion of songs. These poetic forms are the principal markers of the literary identity of Bengal and eastern South Asia (including Assam, Orissa, and Arakan). The Ḥusayn Shāhī period (1433–1486) contributed to the consolidation and expansion eastward of vernacular literary practices. Then, the political landscape became fragmented, and the multiplication of centers of literary production occurred. This fragmentation fostered the formation of new, locally grounded literary trends. These could involve the cultivation of specific genres, the propounding of various religious doctrines and ritual practices, the fashioning of new idioms fostered by either dialectal resources, classical idioms such as Sanskrit or Persian, and other vernacular poetic traditions (Maithili, Avadhi, Hindustani). The late Mughal and early colonial periods witnessed the making of new trends, characterized by a radical modification of the lexical component of the Middle Bengali idiom (i.e., Dobhāṣī), or the recourse to scripts other than Bengali (e.g., Sylhet Nagari/Kaithi, Arabic). The making of such new trends often implied changes in the way that authors interacted with Sanskrit, Persian, and other vernacular traditions. For instance, Persian played as crucial a role as Sanskrit in the various trajectories that Middle Bengali poetry took. On the one hand, Persian in Bengal had a history distinct from that of Bengali; on the other hand, it constituted a major traditional model for Bengali authors and, at times, Persianate education replaced the one based on Sanskrit as the default way to access literacy. Even if Middle Bengali poetic forms continued to be used in the context of various traditional performances, the making of a new literary language in the 19th century, the adoption of Western genres, and the development of prose and Western prosodic forms occasioned a radical break with premodern literary practices. From the second half of the 19th century, with the notable exception of some ritual and sectarian texts, access to the ancient literature of Bengal began to be mediated by philological analysis and textual criticism.

scholarly journals Patterns in the history of the commentation on the so-called ḥadīth Ibn Masʿūd

2019 ◽  
Vol 18 ◽  
pp. 137-162
Author(s):  
Thomas Eich
Keyword(s):  
19Th Century ◽  
Medical Knowledge ◽  
The Other ◽  
History Of ◽  
Diachronic Analysis ◽  
The One ◽  
The 19Th Century ◽  
Clear Line

This paper analyzes the so-called Ibn Masʿūd ḥadīth (see below) on two levels: the specific wording of the ḥadīth on the one hand and a significant portion of the commentation written about it since the 10th century until today on the other. This aims at three things. First, I will show how the ḥadīth’s exact wording still developed after the stabilization of the material in collections. Although this development occurred only on the level of single words, it can be shown that it is a reflection of discussions documented in the commentaries. Therefore, these specific examples show that there was not always a clear line separating between ḥadīth text and commentaries on that text. Second, the diachronic analysis of the commentaries will provide material for a nuanced assessment in how far major icons of commentation such as Nawawī and Ibn Ḥajar al-ʿAsqalānī significantly influenced following generations in composing their respective commentaries. Third, I will argue that in the specific case study provided here significant changes in the commentation can be witnessed since the second half of the 19th century which are caused by the spread of basic common medical knowledge in that period.

THE INFLUENCE OF ABSINTHE ON WORLD CULTURE

2021 ◽  
pp. 5-11
Author(s):  
Beloglazov I.A. ◽  
Biryukova N.V. ◽  
Nesterova N.V.
Keyword(s):  
Side Effects ◽  
20Th Century ◽  
19Th Century ◽  
The Other ◽  
Early 20Th Century ◽  
World Culture ◽  
Artemisia Absinthium ◽  
History Of ◽  
The One ◽  
The 19Th Century

The authors of the work analyzed the sources that characterize the influence of absinthe on human culture. Absinthe, an alcoholic drink containing wormwood (Artemisia absinthium L.), was banned in the early 20th century due to unusual properties attributed to the side effects of drinking this alcohol. This review contains information about the history of the drink. On the one hand, absinthe left its mark in the culture as a “muse” for the creators, remaining forever imprinted in the works of various types of art, on the other hand, it became the main enemy for the most part of society because of the harmful properties that was characterized by researchers of the 19th century.

Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century

2020 ◽  
Vol 1 (13) ◽  
pp. 49-80
Author(s):  
Dominika Maszczyńska
Keyword(s):  
19Th Century ◽  
Piano Technique ◽  
Musical Life ◽  
Early 19Th Century ◽  
Artistic Activity ◽  
History Of ◽  
Fruitful Cooperation ◽  
And Performance ◽  
The One ◽  
The 19Th Century

Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to Europe’s cultural heritage. We can notice their numerous connections with outstanding figures of musical life of that time, one that deserves particular attention is their acquaintance with Beethoven. Nannette Streicher was an extremely talented builder who not only coped with the typically masculine craft at that time, but she was also significantly successful in that field. Her instruments were popular, earning general recognition, and the innovative solutions introduced by her also influenced the work of other builders and further development of the piano. Their marriage became the basis for a very fruitful cooperation. Andreas’s numerous connections and his familiarity with the community became an important part of the activity of the company and contributed to its development. Nannette and Andreas shared their passion and passed it on to their son Johann Baptist, who successfully continued their piano making tradition and introduced further improvements, earning a great reputation as well. Social, cultural and teaching activities of the Streichers also played an important role in the musical life of Vienna. Andreas Streicher taught his students the secrets of piano technique and apart from that he shaped their musical and aesthetical awareness. His Kurze Bemerkungen are a valuable source of knowledge also for modern-time performers who can – thanks to this text – learn more about the piano playing aesthetics at the turn of the 19th century as well as a number of universal music and performance topics, which remain accurate to this day. Concerts organised in their house had an educational function too, on the one hand they shaped the tastes of music lovers and supported composers, allowing them to present their latest pieces, and on the other hand they contributed to the promotion of young performers for whom concerts there were often the first step leading towards Vienna’s professional musical stage. The development of the topic of the article in this issue of “Notes Muzyczny” is the trans- lation of the text by Andreas Streicher entitled: Some observations on the playing, tuning and maintenance of pianos built in Vienna by Nannette Streicher nee Stein.

Another turn of the screw on the history of the reaction object construction

2021 ◽  
Author(s):  
Tamara Bouso ◽  
Pablo Ruano San Segundo
Keyword(s):  
19Th Century ◽  
Sentimental Novel ◽  
Direct Discourse ◽  
Object Construction ◽  
History Of ◽  
Triggering Factor ◽  
The One ◽  
19Th And 20Th Century ◽  
The 19Th Century

Abstract This article deals with the Reaction Object Construction (ROC), as in She smiled disbelief, where an intransitive verb (smile), by adding an emotional object (disbelief), acquires the extended sense “express X by V−ing” (i.e. “She expressed disbelief by smiling”). Earlier research has suggested a diachronic connection between the ROC and Direct Discourse Constructions (DDCs) of the type She smiled, “I don’t believe you” (Visser 1963–1973). More recently, Bouso (2018) has shown that the ROC is primarily a feature of 19th century narrative fiction. This paper aims to bring together these insights. On the basis of a self-compiled corpus and De Smet’s Corpus of English Novels, it investigates the productivity of the ROC in 19th and 20th century fiction, and the role of DDCs in its development. The results reveal a peak in the productivity of the ROC that coincides with the development of the sentimental novel, and a correlation between the development of the ROC on the one hand and of those DDCs that have been mistakenly hypothesised to be its single source constructions on the other. Extravagance is proposed as a triggering factor for the use of the ROC in the 19th century as an alternative to DDCs.

The Royal Society and the International Association of Academies 1897-1919

1980 ◽  
Vol 34 (2) ◽  
pp. 241-264 ◽  
Keyword(s):  
19Th Century ◽  
International Organizations ◽  
International Association ◽  
Science Research ◽  
The Arts ◽  
Berlin Academy ◽  
History Of ◽  
National Boundaries ◽  
The One ◽  
The 19Th Century

In the history of the sciences and the arts since the last third of the 19th century two diverging tendencies can be seen. On the one hand the highpoint of nation-state thinking and nationalistic policies was also accompanied by an unmistakable ‘nationalization’ of science and learning. Science, research and learning, which by their very nature should transcend national boundaries, were conceived of as an element in the competitive struggle between the European nations in which ‘jedem wissenschaftlichen Forschungsergebnis ein nationaler Stempel aufgedriickt wird’ and ‘in which science and brains take the place of swords and sinews’. But in contrast to the development towards a ‘wissenschaftlichen Chauvinismus’, about which the German » physiologist Emil Du Bois-Reymond warned as early as 1878 in a speech at the Berlin Academy, there followed in the wake of increasing international liaison in business and trade more pronounced international co-operation between scientists, researchers and learned societies. It was the second half of the 19th century which experienced the remarkable first flowering of institutional ‘scientific internationalism’ with an increasing incidence of international conferences and the founding of numerous international organizations and conventions. No less than 3000 international scientific functions can be counted between 1840 and 1914. And while only 25 international organizations came into existence between 1870 and 1880, and 40 between 1880 and 1890, 68 were founded between 1890 and 1900 and another 300 before 1910.

scholarly journals La propaganda comercial como transmisora de elementos identitarios: Algunos ejemplos de la ephemera murciana a principios del siglo XX

Imafronte ◽  
2020 ◽  
pp. 1-16
Author(s):  
José Miguel López Castillo
Keyword(s):  
19Th Century ◽  
Visual Representations ◽  
The Social ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Siglo Xix ◽  
The One ◽  
The 19Th Century ◽  
Siglo Xx

Uno de los apartados menos tratados de las representaciones visuales de Murcia ha sido el de la ephemera comercial. Por tal motivo, dado su uso limitado y efímero, en muchas ocasiones no se le ha considerado como un apartado estimable en la historia del arte. Pero lo cierto es que las etiquetas de fábricas de conservas, frutas, licores y otros establecimientos, desde los últimos años del siglo XIX y la primera mitad del XX, en base al diseño difundieron los elementos identitarios más significativos de este territorio por toda España y el resto del mundo. En la mayoría de casos, la marca publicitaria estaba basada en estampas e imágenes del Costumbrismo romántico murciano que ya se habían consolidado durante el ochocientos para la demanda social de esa corriente; en otros casos se fueron adaptando a los nuevos criterios estéticos del siglo XX. Finalmente, esta forma de publicitar cada producto ayudó a patentar la denominación de origen de diversas empresas de varios sectores, principalmente agroalimentarias, y al mismo tiempo a su asimilación con esta región levantina gracias a sus hitos arquitectónicos, la huerta o sus tipos populares. Esta última premisa es la que abordaremos dentro de este estudio al contrastarlas con otras representaciones anteriores. One of the less treated sections of the visual representations of Murcia has been the comercial ephemera. For this reason, given its limited and fleeting use, it has often not been considerated as a valvable section in the history of art. But the truth is that the labels of canning factories, fruits, liquors and other establishments, from the last years of the 19th century based on the design spread the most significant identity elements of this territory throughout Spain and the rest the world. In the majority of cases, the advertising brand was based on prints and images of Murcian romantic costums that had already been consolidated during the 19th century for the social demand of this currens, in other cases they were adapted to the new aesthetic criteria of the 20th century. Finally, this way of advertising each product helped to panted the denomination of origin of various companies, mainly agry-food, and at the same time to assimilate it with this southeast region thanks to its architectural landmarks, the orchard or its popular types. This last premise is the one we will address within this study when contrasting them other previous representations.

Retelling the history of Lesotho : an interplay between orality, painting and film in Kalosi Ramakhula’s works

2018 ◽  
Vol 1 (1) ◽  
pp. 75-87
Author(s):  
Limakatso Pepenene ◽  
Ntsele Radebe
Keyword(s):  
19Th Century ◽  
Visual Art ◽  
Nation Building ◽  
Social Practices ◽  
Semiotic Analysis ◽  
The Past ◽  
History Of ◽  
Unique Approach ◽  
The One ◽  
The 19Th Century

Kalosi Ramakhula is the producer of Moshoeshoe: The Mountain King Volumes 1, 2 and 3, a series of videofilms which narrate the history of Lesotho in the 19th century. His production emerges as a rewriting of history in a context where historical documentation is predominantly authored by historians and ethnographers who complement their research through oral resources. Ramakhula uses a unique approach which incorporates visual art by way of historical paintings created to accomplish a coherent mixture with the established print, sound and vision media of documentary cinema. He collaborates with contemporary Basotho artists commissioned to produce elaborate naturalistic paintings of historical significant characters, sites, events and social practices of the period being depicted. Through an exploration of the concepts of multimodality and intermediality, the article uses a semiotic analysis of selected paintings to examine the multiple layers of potential meanings communicated by the film-maker. We argue that Ramakhula’s retelling strategy explicitly creates a link with the experience of nation building in the past and the present. The paintings are a significantly expressive form of media in this regard, creating a consciousness of Bosotho-ness as the one concept that in principle remains constant despite transformation over the centuries. Ramakhula’s work is seen therefore, as having the potential to create space for negotiations around contemporary debates on nation building in Lesotho.

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