Wives on “Deposit”: Internment and the Preservation of Husbands' Honor in Late Nineteenth-Century Buenos Aires

1992 ◽  
Vol 17 (3) ◽  
pp. 253-270 ◽  
Author(s):  
Kristin Ruggiero

In nineteenth-century Buenos Aires, “institutions of deposit” were often used instead of jails to house women who were in trouble with their husbands and the authorities, and therefore had to be interred while awaiting trial or for other reasons. The public nature of these institutions was seen as crucial for the shaming of women and for the development in them of a sense of repentance and reform. They can thus be interpreted as an important link in a chain of formal institutions and informal pressures that enforced male authority.

Author(s):  
Giorgio Pestelli

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.


Urban History ◽  
2017 ◽  
Vol 45 (2) ◽  
pp. 233-252
Author(s):  
MIKKEL THELLE

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.


2000 ◽  
Vol 86 (2) ◽  
pp. 575-585 ◽  
Author(s):  
Ellen B. Braaten ◽  
Wayne Viney

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.


2003 ◽  
Vol 34 ◽  
pp. 247-278
Author(s):  
Cathleen M. Giustino

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,


2018 ◽  
Vol 71 (2) ◽  
pp. 287-369
Author(s):  
Roger Freitas

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.


2020 ◽  
Vol 2 ◽  
pp. 1
Author(s):  
Ethan Doyle White

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.


2020 ◽  
pp. 27-57
Author(s):  
Robert Kelz

This chapter contextualizes Argentina's thriving German theater scene in German emigration patterns to Argentina; the interplay between German emigrants and their Argentine hosts; and the tensions among local nationalist, antifascist, and Zionist German-language religious, educational, and media institutions. Primarily constituted by emigrants who arrived in the late nineteenth century and in the 1920s, the nationalist colony was characterized by nostalgia for the Wilhelmine monarchy, aversion to the Weimar Republic and, eventually, support for Hitler. The antifascists consisted of a minority of earlier emigrants who supported the Weimar Republic and mostly Jewish German-speaking refugees who fled to Argentina during Nazism. Nominally neutral until late 1944, Argentina permitted pro- and anti-Hitler German media, schools, and cultural centers to flourish, thus whetting extant hostilities among emigrants. Conflict also pervaded the refugee population, which was divided on issues of cultural identity, Jewish integration into the Argentine host society, and collective German guilt for the Shoah.


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