Autoexoticism with Promotional Purposes? Samuel-Henri Berthoud and Provincial Literary Ruse in Nineteenth-Century France

PMLA ◽  
2017 ◽  
Vol 132 (2) ◽  
pp. 397-404 ◽  
Author(s):  
Valentina Gosetti
Keyword(s):  
Nineteenth Century ◽  
Literary Field ◽  
Dominant Culture ◽  
Cultural Center ◽  
Literary Works ◽  
The North ◽  
Nineteenth Century France ◽  
Foreign Land ◽  
Incomplete Picture ◽  
Shed Light

“There speaks the provincial!”—Goncharov, The Same Old StoryIn nineteenth-century france, the so-called province, denoting everything outside Paris, was considered a foreign land by Parisian writers, who often constructed it as an exotic space. When we deal with this kind of provincial exoticism, however, considering this perspective alone risks painting an incomplete picture of the French literary field. Through the example of Samuel-Henri Berthoud, an author from the north of France, my intention here is to shed light on autoexoticist practices by indigenous provincial writers and to explore how they actively reclaimed, fostered, and enhanced exotic constructions about their provinces. Indeed, a wealth of evidence supports my argument that their acceptance of hegemonic constructions from the dominant culture was not passive but rather an active and creative reappropriation. This essay also challenges the idea of a stable hegemonic cultural center around which the marginal authors and literary works gravitate. Before tackling these issues, let us take a step back and briefly survey the particular value of provincial France at the beginning of the nineteenth century.

Dirty Politics: Public Employees, Private Contractors, and the Development of Nineteenth-Century Trash Collection in Pittsburgh and New Orleans

2015 ◽  
Vol 39 (3) ◽  
pp. 387-407 ◽  
Author(s):  
Patricia Strach ◽  
Kathleen Sullivan
Keyword(s):  
Nineteenth Century ◽  
New Orleans ◽  
Public Employees ◽  
Public And Private ◽  
The North ◽  
Northern Cities ◽  
Collection Practices ◽  
Spreading Disease ◽  
Shed Light

Nineteenth-century Pittsburgh and New Orleans were a mess: trash filled the streets impeding travel, hindering commerce, and spreading disease. City officials in Pittsburgh turned to private contractors to collect trash at public expense while in New Orleans they relied on city employees (through the mechanism of widows carts). Like Pittsburgh and New Orleans, nineteenth-century cities faced a mounting garbage problem and, like Pittsburgh, northern cities more often chose contract while southern cities more often chose city collection. In this paper, we look in depth at how Pittsburgh and New Orleans chose contract and city collection, what those solutions looked like in practice, and how these two cases might shed light on the North-South difference. We find that both cities rebuffed offers of assistance that may have led to better trash collection and instead based their collection practices on politics. Moreover, the solutions in practice defied the dichotomous labels of public and private and the assumptions that underlie each.

The Music Behind the Mask: Rossini’s Uncanny Salon

2021 ◽  
Vol 14 (1) ◽  
pp. 83-114
Author(s):  
Simon Cohen
Keyword(s):  
Nineteenth Century ◽  
Cultural History ◽  
Old Age ◽  
The Past ◽  
The Uncanny ◽  
Nineteenth Century France ◽  
Scant Attention ◽  
A Site ◽  
Changing Attitudes ◽  
Shed Light

Despite receiving scant attention from scholars and performers, Rossini’s Péchés de vieillesse (Sins of Old Age), written between 1857 and 1868 for his private salon, have a unique and expressive stylistic language. In these works, the composer gives musical voice to the uncanny discourses that emerged around the idea of his “creative death.” This paper establishes how Rossini’s return to composition functioned as a musical “exhumation,” with his compositional activities functioning as a site for broader discourses about disease, aging, and death in nineteenth-century France. Close readings of visual depictions of Rossini by Eugène Delacroix and Antoine Etex shed light on changing attitudes toward the composer, which coincided with broader aesthetic shifts taking place at the time. The tensions engendered by Rossini’s precarious status as both living and dead, and his nostalgic relationship to the past, constitute a kind of doubleness that can be heard in his late compositions. Bringing together cultural history and musical analysis, I show that the privacy of Rossini’s salon gave rise to music with unique signifying potential that has not yet been duly acknowledged.

scholarly journals ‘Padres de la Patria’ and the Ancestral Past: Commemorations of Independence in Nineteenth-Century Spanish America

2002 ◽  
Vol 34 (4) ◽  
pp. 775-805 ◽  
Author(s):  
REBECCA EARLE
Keyword(s):  
Nineteenth Century ◽  
French Revolution ◽  
Indigenous Peoples ◽  
Spanish America ◽  
Political Elites ◽  
Indigenous Culture ◽  
Political Leaders ◽  
The Past ◽  
Nineteenth Century France ◽  
Shed Light

This article examines the civic festivals held in nineteenth-century Spanish America to commemorate independence from Spain. Through such festivals political leaders hoped, in Hobsbawm's words, ‘to inculcate certain values and norms of behaviour by repetition, which automatically implies continuity with the past’. But when did the ‘past’ begin? If in nineteenth-century France the French Revolution was the time of history, in Spanish America there was no consensus on when history began. The debates about national origins embedded within the nineteenth-century civic festival not only suggest how political elites viewed their Patrias but also shed light on the position of indigenous culture (usually separated hygienically from indigenous peoples themselves) within the developing national histories of post-independence Spanish America.

"Rien de la tonalite usuelle": Edmond de Polignac and the Octatonic Scale in Nineteenth-Century France

2005 ◽  
Vol 29 (2) ◽  
pp. 097-120
Author(s):  
Sylvia Kahan
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Symphonic Poem ◽  
French Music ◽  
Rite Of Spring ◽  
Compositional Technique ◽  
Modes Of Limited Transposition ◽  
Twentieth Century Music ◽  
Nineteenth Century France ◽  
Shed Light

The reification and theorization of the octatonic scale, arguably one of the principal organizational devices of twentieth-century music, have been long in coming. Rimsky-Korsakov was the first to describe the scale, in an 1867 letter, discussing its use as a Leitmotiv in the symphonic poem Sadko. Stravinsky used the collection as the basis for many of his groundbreaking works, especially The Rite of Spring, but never acknowledged the fundamental role that the "Rimsky-Korsakov scale" played in his compositional technique. It took another thirty years for Messiaen to identify the collection as one of the "modes of limited transposition." And another twenty years would pass before Arthur Berger, in a 1963 article, coined the name "octatonic scale."The post-Berger generation of scholars, beginning with van den Toorn and Taruskin, have continued to shed light on the functional and formal uses of the octatonic scale. Taruskin has traced the influence of Schubert's and Liszt's use of harmonic progressions based on mediant and diminished-seventh relations on Rimsky-Korsakov, who in turn influenced a whole generation of early modernist Russians. However, the fact that Rimsky-Korsakov never wrote down in any systematic way the theory underlying the scale that bore his name--in the same way that he codified his theories of orchestration--meant that its presence in early modernist compositions, although used frequently and conspicuously by his followers, remained obscure to those outside his circle. Therefore, the presence of the octatonic collection in the music of non-Russian early modernist composers cannot be easily explained, and the sources of influence are harder to trace. Interestingly, it appears that an important historical link between nineteenth- and twentieth-century octatonic composition--a link with particular implications for the presence of octatonicism in early modernist French music--is found in the music and theoretical writings of Prince Edmond de Polignac (1834--1901), an aristocrat and amateur French composer, who, in 1879, penned not only the first pervasively octatonic composition, but also what appears to be the first treatise on octatonic theory; he went on to write several other compositions based on the "gammes chromatico-diatoniques." In 1894 one of PolignacÕs contemporaries, musicologist Alexandre de Bertha, wrote and lectured extensively about his "discovery" of the "gammes enharmo-niques." In this article, I examine the reception of the works and ideas of Polignac and Bertha by contemporary critics and composers, and PolignacÕs role as an important precursor of modern octatonic theory.

Specificity and independence of the literary game

2012 ◽  
Vol 40 (3) ◽  
pp. 411-429 ◽  
Author(s):  
Bernard Lahire
Keyword(s):  
Nineteenth Century ◽  
Research Agenda ◽  
Pierre Bourdieu ◽  
The State ◽  
The Political ◽  
Literary Field ◽  
Dominant Position ◽  
German Speaking ◽  
Minority Literatures ◽  
Shed Light

In developing his theory of the “literary field,” Pierre Bourdieu essentially had in mind the case of France from the second half of the nineteenth century, the use of which as a case undoubtedly contributed to his marginalizing numerous aspects of the national microcosm. Among its unstated and unrecognized particular qualities, France is mono-national (rather than multinational) and monolingual (rather than multilingual), and occupies the dominant position in the international Francophone world (much as Germany is at the heart of the German-speaking world). A state, a nation, a language, a territory, a literature — all of these make one unit and prevent one from considering situations more complex or tangled, such as those of many minority literatures. These allow the tackling of issues — among others, problems of their “autonomy” in relation to realities outside of literature such as the political, religious, linguistic, and economic. Rather than imposing constraints on a research agenda, the study of minority literatures allows one to shed light on the complex and contradictory relations between the political (the national, the communal, and sometimes the state), the market, and the literary game.

Editorial Introduction

2020 ◽  
Vol 4 (1) ◽  
pp. 1
Author(s):  
Editors of the JIOWS
Keyword(s):  
Nineteenth Century ◽  
Indian Ocean ◽  
Western Indian Ocean ◽  
Late Nineteenth Century ◽  
Fourth Volume ◽  
History Of ◽  
The Indian Ocean ◽  
Complex Relationships ◽  
Indian Ocean World ◽  
Shed Light

The editors are proud to present the first issue of the fourth volume of the Journal of Indian Ocean World Studies. This issue contains three articles, by James Francis Warren (Murdoch University), Kelsey McFaul (University of California, Santa Cruz), and Marek Pawelczak (University of Warsaw), respectively. Warren’s and McFaul’s articles take different approaches to the growing body of work that discusses pirates in the Indian Ocean World, past and present. Warren’s article is historical, exploring the life and times of Julano Taupan in the nineteenth-century Philippines. He invites us to question the meaning of the word ‘pirate’ and the several ways in which Taupan’s life has been interpreted by different European colonists and by anti-colonial movements from the mid-nineteenth century to the present day. McFaul’s article, meanwhile, takes a literary approach to discuss the much more recent phenomenon of Somali Piracy, which reached its apex in the last decade. Its contribution is to analyse the works of authors based in the region, challenging paradigms that have mostly been developed from analysis of works written in the West. Finally, Pawelczak’s article is a legal history of British jurisdiction in mid-late nineteenth-century Zanzibar. It examines one of the facets that underpinned European influence in the western Indian Ocean World before the establishment of colonial rule. In sum, this issue uses two key threads to shed light on the complex relationships between European and other Western powers and the Indian Ocean World.

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