: The Nineteenth-Century American Short Story: Language, Form, and Ideology. . Douglas Tallack. ; Maupassant and the American Short Story: The Influence of Form at the Turn of the Century. . Richard Fusco.

Major writers and painters of the Romantic period interpreted the church or cathedral in its organic and spiritual dimensions as a complex expression of a matured Christian civilization. Artists of the mid-nineteenth century continued to produce both secular and religious variations upon this established referentiality. Although divergent uses reciprocally reinforced the fascination for the central imagery of the church and its multiple contexts, they also came to suggest a deeper tension in Western development between what the church had meant in an earlier Europe and what it might mean for late modernity. The threat of a permanent loss of cultural values was an issue haunting Realist approaches. A crucial revision occurred when key Symbolist poets openly revived the first Romantic themes but treated them as contents available to a decidedly post-Romantic historical consciousness. There was an analogous revival of interest in the church as a culturally charged symbol in painting around the turn of the century. Although they might apply this poetic and pictorial heritage in strikingly different ways, writers of high Modernism such as Rilke, Proust, and Kafka understood its richness and importance.

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Firearms and Princely Power in Ethiopia in the Nineteenth Century

The Journal of African History ◽

10.1017/s0021853700011968 ◽

1972 ◽

Vol 13 (4) ◽

pp. 609-630 ◽

Cited By ~ 11

Author(s):

R. A. Caulk

Keyword(s):

Nineteenth Century ◽

Twentieth Century ◽

New Technology ◽

Turn Of The Century ◽

Imperial Authority ◽

Early Twentieth Century ◽

National Leadership ◽

Local Leaders

Several centuries after firearms had been introduced, they were still of little importance in Ethiopia, where cavalry continued to dominate warfare until the second half of the nineteenth century. Nevertheless, they were much sought after by local leaders ambitious to secure their autonomy or to grasp supreme authority. The first of these warlords to make himself emperor, Tēwodros (1855–68), owed nothing to firearms. However, his successors, Yohannis IV (1872–89) and Minīlik (d. 1913), did. Both excelled in their mastery of the new technology and acquired large quantities of quick-firing weapons. By the last quarter of the nineteenth century, possession of firearms — principally the breech loading rifle — had become a precondition for successfully contending for national leadership. Yet the wider revolution associated (as in Egypt) with the establishment of a European-style army did not follow. Nor was rearmament restricted to the following of the emperor. Despite the revival of imperial authority effected by Yohannis and Minīlik, rifles and even machine-guns were widely enough spread at the turn of the century to reinforce the fragmentation of power long characteristic of the Ethiopian state. Into the early twentieth century, it remained uncertain if the peculiar advantages of the capital in the import of arms would be made to serve centralization.

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Criminal Skins: Tattoos and Modern Architecture in the Work of Adolf Loos

Architectural History ◽

10.1017/s0066622x00003798 ◽

2005 ◽

Vol 48 ◽

pp. 235-256 ◽

Cited By ~ 8

Author(s):

Jimena Canales ◽

Andrew Herscher

Keyword(s):

Nineteenth Century ◽

Twentieth Century ◽

Le Corbusier ◽

Modern Architecture ◽

Turn Of The Century ◽

Less Is More ◽

International Style

Adolf Loos’s famous essay, ‘Ornament and Crime’, decisively linked unornamented architecture with the culture of modernity and, in so doing, became one of the key formulations of modern architecture. To a great extent, the essay’s force comes from arguments drawn from nineteenth-century criminal anthropology. Nevertheless, Loos’s work has been consistently understood only within the context of the inter-war avant- gardes. In the 1920s, Le Corbusier was particularly enthusiastic in bringing Loos’s work to the fore, thereby establishing its future reception. ‘Ornament and Crime’ became an essential catalyst for architecture’s conversion away from the historicism of the nineteenth century to modernism. At the turn of the century, Loos’s essay already foreshadowed the white abstraction of ‘less is more’ architecture and the functionalist rigour of the International Style which would dominate the twentieth century.

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To Mentor and Control: How the North Bennet Street Industrial School Became a Pioneer of Philanthropy and Americanization at the Turn of the Century

The Graduate History Review ◽

10.18357/ghr101202119999 ◽

2021 ◽

Vol 10 (1) ◽

pp. 75-116

Author(s):

Rosanna Wright

Keyword(s):

Nineteenth Century ◽

Turn Of The Century ◽

Educational Institutions ◽

The North ◽

And Control ◽

Industrial School

This study explores how Progressivism, and a belief in the benefits of ‘Americanizing’ immigrants, affected educational institutions such as Boston’s North Bennet Industrial School at the end of the nineteenth century.

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Idealism and the Aesthetics of Instrumental Music at the Turn of the Nineteenth Century

Journal of the American Musicological Society ◽

10.2307/831839 ◽

1997 ◽

Vol 50 (2-3) ◽

pp. 387-420 ◽

Cited By ~ 21

Author(s):

Mark Evan Bonds

Keyword(s):

Nineteenth Century ◽

Eighteenth Century ◽

Instrumental Music ◽

Turn Of The Century ◽

Work Of Art ◽

New Approach ◽

Musical Thought ◽

Absolute Music ◽

The Arts ◽

Aesthetic Principle

The growing aesthetic prestige of instrumental music in the last decades of the eighteenth century was driven not so much by changes in the musical repertory as by the resurgence of idealism as an aesthetic principle applicable to all the arts. This new outlook, as articulated by such writers as Winckelmann, Moritz, Kant, Schiller, Herder, Fichte, and Schelling, posited the work of art as a reflection of an abstract ideal, rather than as a means by which a beholder could be moved. Through idealism, the work of art became a vehicle by which to sense the realm of the spiritual and the infinite, and the inherently abstract nature of instrumental music allowed this art to offer a particularly powerful glimpse of that realm. Idealism thus provided the essential framework for the revaluation of instrumental music in the writings of Wackenroder, Tieck, E. T. A. Hoffmann, and others around the turn of the century. While this new approach to instrumental music has certain points of similarity with the later concept of "absolute" music, it is significant that Eduard Hanslick expunged several key passages advocating idealist thought when he revised both the first and second editions of his treatise Vom Musikalisch-Schönen. The concept of "absolute" music, although real enough in the mid-nineteenth century, is fundamentally anachronistic when applied to the musical thought and works of the decades around 1800.

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A double dose of death in Iginio Ugo Tarchetti’s ‘I fatali’

The Gothic and Death ◽

10.7228/manchester/9781784992699.003.0011 ◽

2017 ◽

Author(s):

Christina Petraglia

Keyword(s):

Nineteenth Century ◽

Short Story ◽

Late Nineteenth Century ◽

Double Dose ◽

Late Nineteenth ◽

Father And Son ◽

Otto Rank

This chapter posits a psychoanalytic reading of Iginio Ugo Tarchetti’s short story ‘I fatali’ (‘The Fated Ones’) published posthumously in the collection Racconti fantastici (Fantastic Tales) (1869). It focuses on the mortal rivalry between the father and son figures, Count Sagrezwitch and Baron Saternez, who become known in late nineteenth-century Milanese society of the short story as true embodiments of fatal beings belonging to popular superstition, known as jinxes – bringers of bad fortune, illness, harm, and even death to others. Drawing from Otto Rank and Sigmund Freud’s conceptions of the Doppelgänger, it is argued that these protagonists emerge as complementary doubles for one another, as opposing incarnations of Death in the form of mysterious foreigners. This chapter also highlights the post-Unification, socio-cultural undertones of Tarchetti’s fantastic tale, affirms the existence of an Italian Gothic, and reveals the author’s portrayal of death’s spectacular nature.

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