Celtic Heroines: The Contributions of Women Scholars to Arthurian Studies in the Celtic Languages

2019 ◽  
Vol 7 (1) ◽  
pp. 120-139
Author(s):  
Krista Kapphahn
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
Arthurian Literature ◽  
Celtic Languages ◽  
Women Scholars ◽  
Lasting Influence

Abstract This article surveys some of the main contributions of female scholars to the study of Arthurian literature in the Celtic languages from the nineteenth century to the present day. Scholarship by women has been integral to the study of Celtic Arthurian literature since the translations of native Welsh texts by Lady Charlotte Guest. Since then, women’s contributions have been foundational to the field, influencing theories of transmission, analysis and the standard editions of much Arthurian material in Welsh, Irish, Gaelic and Breton. They remain vital to the life of Arthurian scholarship, and the final section addresses contributions by younger scholars whose lasting influence remains to be seen.

What the Climber Saw: Strauss's Alpensinfonie and the Romantic Tradition of Nature Representation

2021 ◽  
pp. 1-31
Author(s):  
David Larkin
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
Emotional Reactions ◽  
Tone Poem ◽  
Peak Response ◽  
Landscape Features ◽  
Musical Compositions ◽  
The Sublime ◽  
Romantic Era ◽  
The Relationship

Initially criticized for its naïve representation of landscape features, Strauss's Alpensinfonie (1915) has in recent years been reinterpreted by scholars as a deliberate challenge to metaphysics, a late outgrowth of the composer's fascination with Nietzsche. As a consequence, the relationship between Strauss's tone poem and earlier artworks remains underexplored. Strauss in fact relied heavily on long-established tropes of representing mountain scenes, and when this work is situated against a backdrop of similarly themed Romantic paintings, literature, travelogues and musical compositions, many points of resemblance emerge. In this article, I focus on how human responses to mountains are portrayed within artworks. Romantic-era reactions were by no means univocal: mountains elicited overtly religious exhalations, atheistic refutations of all supernatural connections, pantheistic nature-worship, and also artworks which engaged with nature purely in an immanent fashion. Strauss uses a range of strategies to distinguish the climber from the changing scenery he traverses. The ascent in the first half of Eine Alpensinfonie focuses on a virtuoso rendition of landscape in sound, interleaved with suggestions as to the emotional reactions of the protagonist. This immanent perspective on nature would accord well with Strauss's declared atheism. In the climber's response to the sublime experience of the peak, however, I argue that there are marked similarities to the pantheistic divinization of nature such as was espoused by the likes of Goethe, whom Strauss admired enormously. And while Strauss's was an avowedly godless perspective, I will argue in the final section of the article that he casts the climber's post-peak response to the sublime encounter in a parareligious light that again has romantic precedents. There are intimations of romantic transcendence in the latter part of the work, even if these evaporate as the tone poem, and the entire nineteenth-century German instrumental tradition it concludes, fades away into silence.

Polin: Studies in Polish Jewry Volume 32

2020 ◽  
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Popular Culture ◽  
National Identity ◽  
Final Section ◽  
Classical Music ◽  
Religious Practice ◽  
Jewish Music ◽  
The Holocaust ◽  
Jewish Involvement

With its five thematic sections covering genres from cantorial to classical to klezmer, this pioneering multi-disciplinary volume presents rich coverage of the work of musicians of Jewish origin in the Polish lands. It opens with the musical consequences of developments in Jewish religious practice: the spread of hasidism in the eighteenth century meant that popular melodies replaced traditional cantorial music, while the greater acculturation of Jews in the nineteenth century brought with it synagogue choirs. Jewish involvement in popular culture included performances for the wider public, Yiddish songs and the Yiddish theatre, and contributions of many different sorts in the interwar years. Chapters on the classical music scene cover Jewish musical institutions, organizations, and education; individual composers and musicians; and a consideration of music and Jewish national identity. One section is devoted to the Holocaust as reflected in Jewish music, and the final section deals with the afterlife of Jewish musical creativity in Poland, particularly the resurgence of interest in klezmer music. The chapters do not attempt to define what may well be undefinable—what “Jewish music” is. Rather, they provide an original and much-needed exploration of the activities and creativity of “musicians of the Jewish faith.“

scholarly journals The Secret of the Celts Revisited

2017 ◽  
Vol 24 (1-2) ◽  
pp. 130-155
Author(s):  
Jacqueline Borsje
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Irish Literature ◽  
Traditional Society ◽  
Dominant Culture ◽  
Old Irish ◽  
Celtic Revival ◽  
Celtic Languages ◽  
Celtic Culture ◽  
Way Of Thinking

What makes the Celts so popular today? Anton van Hamel and Joep Leerssen published on the popularity of imagery connected with pre-Christian Celts, Van Hamel seeing the holistic worldview and Leerssen mysteriousness as appealing characteristics. They explain waves of ‘Celtic revival’ that washed over Europe as reaction and romanticising movements that search for alternatives from contemporaneous dominant culture. Each period has produced its modernized versions of the Celtic past. Besides periodical heightened interest in things Celtic, Van Hamel saw a permanent basis of attraction in Celtic texts, which accommodate ‘primitive’ and romantic mentalities. This article also analyses Celtic Christianity (through The Celtic Way by Ian Bradley and The Celtic Way of Prayer by Esther de Waal) on the use of Celtic texts and imagery of Celtic culture. Two case studies are done (on the use of the Old-Irish Deer’s Cry and the description of a nineteenth-century Scottish ritual). Both the current search for ‘spirituality’ and the last wave of ‘Celtic revival’ seem to have sprung from a reaction movement that criticizes dominant religion/culture and seek inspiration and precursors in an idealized past. The roots of this romantic search for a lost paradise are, however, also present in medieval Irish literature itself. Elements such as aesthetics, imaginative worlds and the posited lost beauty of pre-industrial nature and traditional society are keys in explaining the bridges among the gap between ‘us’ and the Celts. The realization that Celtic languages are endangered or dead heightens the feeling of loss because they are the primary gates towards this lost way of (thinking about) life.

Charles Liernurs pneumatische riool en het besturen van bodems

2021 ◽  
Vol 5 (3/4) ◽  
pp. 311-327
Author(s):  
Maarten Meijer
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
Dutch Society ◽  
Urban Waste ◽  
Content Type ◽  
Sewage System ◽  
Agricultural Chemistry ◽  
The Difference ◽  
Shed Light

Abstract Charles Liernur’s Pneumatic Sewage System and the Governing of Soils This article interrogates the epistemological conditions of Charles Liernur’s pneumatic sewage system in order to shed light on the changing relation between soils and Dutch society in the nineteenth century. The first section discusses the relation between hygienism, soil and sewage. The second section unearths how Liernur’s design related to the agricultural chemistry of Justus Liebig. Through the epistemologies and the mediating technologies that are operationalized by hygienists and chemists, soils are made governable. The final section of this article discusses the struggle to commercialise the urban waste collected by Liernur’s system, highlighting the difference between governable and governed soils.

Conclusion

2020 ◽  
pp. 189-200
Author(s):  
Alan Montgomery
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
National Identity ◽  
Final Section ◽  
Early History ◽  
Roman Period ◽  
Victorian Era ◽  
Dead End

The Conclusion of Classical Caledonia looks at nineteenth century attitudes towards Roman Scotland, also comparing these to Victorian attitudes towards England’s Roman heritage. It reveals striking differences, with the Roman period being viewed as a pivotal moment in the formation of modern England, but the exploits of the Romans in Scotland largely dismissed as an inconsequential footnote. During the Victorian era, the Scottish fascination with the Romans and the Caledonians would be replaced by more romanticised visions of the nation’s early history. This final section categorises the eighteenth-century obsession with Scotland’s Roman past as a historical and patriotic ‘dead end’ and discusses why it failed to become a lasting element of Scotland’s popular history and national identity.

The Adventure of the Stradivarius: Violins in the Work of Arthur Conan Doyle and William Crawford Honeyman

2020 ◽  
Author(s):  
Rachael Durkin
Keyword(s):  
Nineteenth Century ◽  
Short Story ◽  
Final Section ◽  
Sherlock Holmes ◽  
Detective Story ◽  
Victorian Era ◽  
Music Making ◽  
Arthur Conan Doyle

Abstract The violin, despite its fleeting appearances in the stories of Sherlock Holmes, has become prominently associated with the character of Sherlock in modern TV and film adaptions. While the violin is never investigated by Holmes in the stories, it is represented in more depth in a precursory detective story by William Crawford Honeyman: a Scottish author-musician, whose work appears to have influenced Arthur Conan Doyle’s tales of Sherlock Holmes. Honeyman’s short story ‘The Romance of a Real Cremona’ (1884) follows detective James McGovan as he traces and returns a stolen Stradivari violin and unravels its complex provenance. The importance of the violin’s inclusion in fictional works has been little discussed in scholarship. Here, the texts of Doyle and Honeyman serve as a lens through which to analyse the meaning of the violin during the Victorian era. By analysing the violin from an organological perspective, this article examines the violin’s prominence in nineteenth-century British domestic music-making, both as a fiscally and culturally valuable object. The final section of the article explores the meaning attached to, and created by, the violin in the stories of Doyle and Honeyman.

The Cultural-rootedness of Christian Distinctiveness: James K.A. Smith and Schleiermacher on Theologies of Culture

Ecclesiology ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 99-119
Author(s):  
Andrew Hayes
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
Relational Understanding ◽  
Cultural Contexts

This article argues that all conceptions of Christian distinctiveness are culturally rooted in ways which necessarily determine conceptions of and approaches to formation and discipleship. No argument shall be made for a particular vision of Christian distinctiveness. Rather, the focus is on how distinctiveness itself is understood, constructed and determines accounts which seek to order Christian lives qua Christian. Recent presentations of Christian distinctiveness are summarized via engagement with James K.A. Smith. Schleiermacher’s understanding of Christian distinctiveness, rooted in nineteenth century cultural trends and assumptions, is employed as a juxtaposition demonstrating the culturally rootedness of both approaches to formation and discipleship presenting a clearer picture of the assumptions carried in many contemporary calls for Christian distinctiveness. The final section builds on Kathryn Tanner’s relational understanding of distinctiveness, arguing for an approach that determines Christian distinctiveness collaboratively in recognition of different and multi-layered cultural contexts.

Traces of historical infinitive in English dialects and their Celtic connections

2009 ◽  
Vol 13 (2) ◽  
pp. 295-308
Author(s):  
JUHANI KLEMOLA
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Verbal Noun ◽  
Early Twentieth Century ◽  
Base Form ◽  
West Midlands ◽  
Celtic Languages ◽  
To Come

A number of nineteenth-century and early twentieth-century dialect descriptions refer to an unusual adverb + infinitive construction in southwestern and west Midlands dialects of English. The construction is most often reported in the form of a formulaic phrase away to go, meaning ‘away he went’, though it is also found with a range of other adverbs. In addition, the same dialects also make use of a possibly related imperative construction, consisting of a preposition or adverb and a to-infinitive, as in out to come! ‘Come out!’ and a negative imperative construction consisting of the negator not and the base form of the verb, as in Not put no sugar in!. These construction types appear to be marginal at best in earlier varieties of English, whereas comparable constructions with the verbal noun are a well-established feature of especially British Celtic languages (i.e. Welsh, Breton, and Cornish). In this article I argue that transfer from the British Celtic languages offers a possible explanation for the use of these constructions in the traditional southwestern and west Midlands dialects of English.

The shape of musical improvisation

2017 ◽  
Author(s):  
Milton Mermikides ◽  
Eugene Feygelson
Keyword(s):  
Nineteenth Century ◽  
Theoretical Model ◽  
Detailed Analysis ◽  
Final Section ◽  
Theoretical Framework ◽  
Classical Period ◽  
Violin Concerto ◽  
Fourth Section ◽  
Musical Space ◽  
The Third

This chapter presents practitioner–researcher perspectives on shape in improvisation. A theoretical framework based in jazz improvisational pedagogy and practice is established, and employed in the analysis of examples from both jazz and classical-period repertoire. The chapter is laid out in five sections. The first section provides a brief overview of improvisational research, while the second discusses the concept of improvisation as ‘chains-of-thought’ (a logical narrative established through the repetition and transformation of musical objects). The third reflects upon improvisation as the limitation and variation of a changing set of musical parameters. Using this concept, the fourth section builds a theoretical model of improvisation as navigation through multidimensional musical space (M-Space). The final section uses this model in a detailed analysis of the nineteenth-century violinist Hubert Léonard’s cadenza for Beethoven’s Violin Concerto Op. 61.

Tirumala Nayaka's “New Hall” and the European Study of the South Indian Temple

2001 ◽  
Vol 11 (2) ◽  
pp. 191-217 ◽  
Author(s):  
Crispin Branfoot
Keyword(s):  
Nineteenth Century ◽  
Final Section ◽  
European Study ◽  
The South ◽  
The West ◽  
Early Nineteenth Century ◽  
Temple Complex ◽  
South Indian ◽  
Late Eighteenth ◽  
Architectural Sculpture

AbstractThe Pudu Mandapa (‘New Hall’) in Madurai is one of the best-known monuments from the Nayaka period of Tamilnadu (c. 1550–1700). It was built around 1630 under the patronage of Tirumala Nayaka as a major addition to the Minaksi-Sundaresvara temple complex that dominates the centre of this major Tamil town and Hindu pilgrimage centre. The Pudu Mandapa is well known in the West from the aquatint produced by Thomas and William Daniell, but this is only one of numerous other illustrations by Western and Indian artists in the late eighteenth and early nineteenth century of this single Tamil temple structure. A discussion of the Pudu Mandapa as an example of a major architectural type, the festival mandapa, is followed by an examination of the structure's architectural sculpture. The final section discusses the Royal Asiatic Society's collection of drawings of this mandapa and the European documentation of the south Indian temple more generally.

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