scholarly journals MOCIDADE AJUIZADA: HISTÓRIA E FUNÇÃO LITERÁRIA NO TEATRO REALISTA DE ALENCAR * EARNEST YOUTH: HISTORY AND LITERARY FUNCTION IN ALENCAR’S REALIST PLAYS

2015 ◽  
Vol 4 (2) ◽  
pp. 339
Author(s):  
Rodrigo Soares de Cerqueira
Keyword(s):  
Nineteenth Century ◽  
Literary Form ◽  
Point Of View ◽  
Franco Moretti ◽  
Forms Of Life ◽  
Jose De Alencar ◽  
The Way

<p><strong>Resumo: </strong>O artigo analisa a mudança da função literária do <em>raisonneur </em>sob um ponto de vista histórico. Metodologicamente, esse trabalho está assentado nas premissas desenvolvidas por Franco Moretti, para quem forma literária é a maneira segundo a qual a ficção lida com contradições históricas reais. Nesse sentido, defende-se que a mudança na caracterização do <em>raisonneur </em>no teatro realista de José de Alencar, que se torna mais jovem e urbanizado, busca apaziguar as ansiedades de uma vertente tradicional e agrária do conservadorismo brasileiro frente às transformações modernizantes das formas de vida em meados do século XIX.</p><p><strong>Palavras-chave: </strong>José de Alencar; Joaquim Manuel de Macedo; forma literária; conservadorismo</p><p><strong>Abstract: </strong>This article investigates the change of the <em>raisonneur </em>literary function under a historical point of view. Methodologically, it is based on the premise developed by Franco Moretti, to whom literary form is the way by which fiction deals with actual historical contradictions. Thus, the aim is to show that new <em>raisonneur </em>created by José de Alencar in his realist plays, a young and urban one, seeks to appease the anxiety of a more traditional and agrarian branch of Brazilian conservatism, that was dealing with the transformations of the forms of life in the middle of nineteenth century.</p><p><strong>Keywords: </strong>José de Alencar; Joaquim Manuel de Macedo; literary form; conservatism</p>

Things Said by the Way

On Essays ◽  
2020 ◽  
pp. 241-257
Author(s):  
Stefano Evangelista
Keyword(s):  
Nineteenth Century ◽  
Literary Form ◽  
Rich Source ◽  
Walter Pater ◽  
Historical Novels ◽  
History Of ◽  
The Way

Walter Pater (1839–1894) saw the essay as the quintessentially modern literary form: a dialectic of philosophy and poetry, yoking together the precious and the commonplace, capable of embodying the scepticism and relativism of the nineteenth century. At the same time, the literary essay was for him a rich source of experimentation in his own writing. In his critical works Pater explored the genealogy and features of essayistic style in a highly self-conscious way, tracing a history of the genre that goes from the Platonic dialogues to Montaigne, while his historical novels are punctuated with a series of digressions that gives them a distinctly hybrid, essayistic quality. In Gaston de Latour, Pater even stages an encounter between his fictional protagonist and Montaigne, in which he brings into focus his theory of the essay as revealing the importance of things found ‘at some random turn by the way’.

The Scaffold in the Marketplace

2013 ◽  
Vol 68 (3) ◽  
pp. 363-395
Author(s):  
Helen Deutsch
Keyword(s):  
Nineteenth Century ◽  
Nathaniel Hawthorne ◽  
Literary Form ◽  
Literary Imagination ◽  
Samuel Johnson ◽  
Scarlet Letter ◽  
The Scarlet Letter ◽  
The Way

Samuel Johnson haunted the nineteenth-century American literary imagination, and there is no more compelling example of this than Nathaniel Hawthorne, who modeled his uniquely reticent form of authorial exemplarity in Johnson’s sociable shadow. This essay looks at a neglected dimension of Hawthorne’s historical and moral endeavor in his masterpiece, The Scarlet Letter (1850), by considering his fascination with both the great Augustan moralist and the elusive, mobile, and seminal historical genre that shaped that fascination, the anecdote. The genre of exemplarity par excellence, the anecdote is also, in Joel Fineman’s words, “the literary form that uniquely lets history happen by virtue of the way it introduces an opening into the teleological, and therefore timeless, narration of beginning, middle, and end.” The anecdote is thus the “hole within the whole” from which alternative histories, including the true histories known as romances, can emerge. Hawthorne’s lifelong preoccupation with James Boswell’s anecdote of Johnson’s penance in Uttoxeter Market roots a uniquely American fictional hero (aka Arthur Dimmesdale) and Hawthorne’s distinctively melancholic mode of American authorship, in Johnson’s English singularity.

scholarly journals A valsa nos trópicos: repercussões de um fenômeno europeu na literatura brasileira do século XIX

2018 ◽  
Vol 23 (1) ◽  
pp. 39
Author(s):  
Claudia Helena Daher
Keyword(s):  
Nineteenth Century ◽  
Point Of View ◽  
National Literature ◽  
Brazilian Literature ◽  
Ballroom Dancing ◽  
Brazilian Society ◽  
Jose De Alencar

Resumo: Partindo de uma observação feita na obra Raízes do Brasil (1936), de Sérgio Buarque de Holanda, na qual o autor reflete sobre a disparidade entre a sociedade brasileira do século XIX e as ideias do liberalismo europeu, Roberto Schwarz desenvolve em Ao vencedor as batatas (1977) uma crítica ao Romantismo brasileiro, que teria sido montado sobre uma comédia ideológica, diferente da europeia, representando uma idealização que não correspondeu à realidade. O presente artigo revê esses conceitos a partir da cena de baile da obra Senhora (1875), de José de Alencar. Observa-se a presença da valsa na literatura brasileira oitocentista, objetivando analisar de que maneira esse fenômeno europeu se manifestou em território brasileiro e como o imaginário em torno do baile foi apropriado e relido pelo autor. O artigo coloca a literatura brasileira em diálogo com a literatura europeia produzida no mesmo período. Ao ponto de vista de Roberto Schwarz acrescenta-se o estudo feito por Maria Cecília de Moraes Pinto (1999) que investiga as influências europeias de Alencar e o seu empenho em fazer uma literatura nacional.Palavras-chave: valsa na Europa e no Brasil; Romantismo; literatura nacional.Abstract: The piece of writing Raízes do Brasil (1936) by Sérgio Buarque de Holanda, in which the author reflects about the disparities between Brazilian society of the nineteenth century and the ideas of European liberalism, provides a basis to Roberto Schwarz’s criticism of Brazilian Romanticism in Ao vencedor as batatas (1977). According to Schwarz, different from its European correlate, Brazilian Romanticism would have been based on an ideological comedy, thus representing an idealization that did not correspond to reality. This article revisits such concepts from the perspective of the ballroom dancing scene in Senhora (1875), by José de Alencar. Based on the presence of the waltz in nineteenth century Brazilian literature we analyzed how the European phenomenon manifested in Brazilian territory and how the imaginary constructed around ballroom dancing was appropriated and re-read by Alencar. This work establishes a connection between Brazilian Literature and the literature produced in Europe during the same period. In addition to Roberto Schwartz’s point of view, we included Maria Cecília de Moraes Pinto’s study (1999), which investigated Alencar’s European influences and his efforts in creating a national literature.Keywords: waltz in Europe and Brazil; Romanticism; national literature.

Counterrevolutionary Traditionalism

Tocqueville ◽  
2013 ◽  
Author(s):  
Lucien Jaume
Keyword(s):  
Nineteenth Century ◽  
Democratic Republic ◽  
Social Bond ◽  
General Interest ◽  
Public And Private ◽  
The People ◽  
The Social ◽  
Forms Of Life ◽  
The Way

In the counterrevolutionary school, it remained an article of faith from the time of the Directory to the end of the nineteenth century that individualism is destructive of the social bond, that it is impossible to create a society from individual atoms. This chapter argues that Tocqueville did not believe that one could simply say that individualism destroys the social bond. Although he conceded the point to a certain extent, he was also impressed by the way in which individualistic Americans joined together to form associations, linking their particular interests to the general interest and ultimately creating a society with sovereignty of the people. In contrast to Bonald (who argued that democratic republics are not “constituted”) and de Maistre (who held that a democratic republic is a society without sovereignty and therefore without solidity), Tocqueville thus recognized that society could be constituted in new ways: associations linking public and private, forms of life created by decentralization, avowed or implicit religions, and so forth. But he aimed his criticism primarily at an idea that de Maistre had made famous: “the generative principle (principe générateur) of political constitutions.”

Is the ‘lump of labour’ a self-evident fallacy? The case of Great Britain

2019 ◽  
pp. 221-242
Author(s):  
Jacques Wels ◽  
John Macnicol
Keyword(s):  
Nineteenth Century ◽  
Great Britain ◽  
Critical Point ◽  
Empirical Evidence ◽  
Recent Literature ◽  
Point Of View ◽  
Working Time ◽  
Retirement Age ◽  
Recent Period ◽  
The Way

This article discusses the notion of a ‘lump of labour fallacy’ used since the end of the nineteenth century and more strongly over the recent period in order to criticise the idea that the number of jobs in an economy is fixed. Examining the recent literature using this notion, the article shows that the lump of labour fallacy is more often used as an assumption rather than examined in-depth. Despite a lack of empirical evidence, it became a key argument in the British debate, used, for instance, to justify an increase in the retirement age. From a critical point of view, the article concludes that an in-depth evaluation of the way the number of jobs varies still needs to be done, looking particularly at the evolution of working time.

Remembering the Past in Nineteenth-Century Scotland

2014 ◽  
Author(s):  
James J. Coleman
Keyword(s):  
Nineteenth Century ◽  
National Identity ◽  
19Th Century ◽  
21St Century ◽  
Collective Memories ◽  
The Past ◽  
Prevailing View ◽  
The Way

At a time when the Union between Scotland and England is once again under the spotlight, Remembering the Past in Nineteenth-Century Scotland examines the way in which Scotland’s national heroes were once remembered as champions of both Scottish and British patriotism. Whereas 19th-century Scotland is popularly depicted as a mire of sentimental Jacobitism and kow-towing unionism, this book shows how Scotland’s national heroes were once the embodiment of a consistent, expressive and robust view of Scottish nationality. Whether celebrating the legacy of William Wallace and Robert Bruce, the reformer John Knox, the Covenanters, 19th-century Scots rooted their national heroes in a Presbyterian and unionist view of Scotland’s past. Examined through the prism of commemoration, this book uncovers collective memories of Scotland’s past entirely opposed to 21st-century assumptions of medieval proto-nationalism and Calvinist misery. Detailed studies of 19th-century commemoration of Scotland’s national heroes Uncovers an all but forgotten interpretation of these ‘great Scots’ Shines a new light on the mindset of nineteenth-century Scottish national identity as being comfortably Scottish and British Overturns the prevailing view of Victorian Scottishness as parochial, sentimental tartanry

A Distinction No Longer of Use: Evolutionary Discourse and the Disappearance of the Trope/Figure Binarism

1993 ◽  
Vol 11 (3) ◽  
pp. 321-342 ◽  
Author(s):  
Shirley Sharon-Zisser
Keyword(s):  
Nineteenth Century ◽  
Rhetorical Theory ◽  
Common Part ◽  
The Way

Abstract: The concem with progress and utility is shared by nineteenth-century scientists, philosophers, and rhetoricians, leading to significant correspondences among their discourses. This concern is manifest, for example, in the way in which several rhetorical treatises of the nineteenth century regard the distinction between a figure and a trope, which had been a common part of rhetorical theory since the time of Quintilian, as useless and anachronistic. By examining three nineteenth-century articulations of the justifications for erasing the trope/figure distinction from the cultural repertoire, this essay reveals structural and semantic parallels between these rhetorical treatises and the discourses of evolution and utilitarianism. Thus, the essay locates the source of the synonymity which the terms “trope” and “figure” have acquired in contemporary critical metalanguage in Victorian ideologies of progress and of the unprofitability and consequent discardability of the ancient.

La enseñanza de la ética profesional a estudiantes de derecho: análisis de caso

2018 ◽  
pp. 145
Author(s):  
Juan Pablo Beca
Keyword(s):  
Professional Ethics ◽  
Ethics Education ◽  
Teaching Experience ◽  
Point Of View ◽  
Theory And Practice ◽  
Ethics Course ◽  
Approach Theory ◽  
Competency Based ◽  
Catholic Tradition ◽  
The Way

ResumenEl trabajo analiza el curso Ética Profesional en la carrera de Derecho en la Universidad Católica de Temuco. Examina la forma como se abordaba la ética profesional antes de la creación del curso, y lo que ha ocurrido con él a través de sucesivos cambios curriculares y la introducción del modelo por competencias. El curso aporta al sello identitario, mediante un enfoque multidisciplinario. El curso ha vinculado teoría y práctica, desde que comenzó a implementarse, hasta llegar actualmente a comprenderlo en la lógica de competencias. Esta mirada implica formar a los estudiantes para resolver dilemas éticos, lo que se hace mediante la metodología del ver–juzgar–actuar. Esta metodología de discernimiento es propia de la tradicióncatólica, pero se usa en este contexto sin un cariz religioso. El método en cuestión permite ir educando la autonomía a fn de tomar decisiones. Se analiza la importancia de contextualizar la enseñanza ética y la forma como esto se ha hecho en el curso. Finalmente se aborda la relevancia de formar la conciencia ética de los estudiantes.Palabras clave: Experiencia de enseñanza – Ética profesional –Método de discernimient.ResumoO artigo analisa o curso de Ética Profssional na Escola de Direito na Universidade Católica de Temuco. Examina a forma de como abordar a ética profssional antes da criação do curso, e o que tem acontecido com ele através de sucessivas mudanças curriculares e a introdução do modelo de competências. O curso aporta ao selo de identidade, através de uma abordagem multidisciplinar. O curso tem ligado teoria e prática, desde que começou a se programar até chegar atualmente a compreendê-lo na lógica de competência. Este olhar implica formar aos estudantes para resolver dilemas éticos, o que é feito pela metodologia do ver-julgar-agir. Este método de discernimento é próprio da tradição Católica, mas é usado neste contexto, sem um aspecto religioso. O método em questão permite ir educando na autonomia com a fnalidade de tomar decisões. Analisa-se a importância de contextualizar o ensino da ética e a forma como isso tem sido feito no curso. Finalmente se aborda a relevância de formar consciência ética dos estudantes.Palavras-chave: Experiência de ensino - Ética Profssional - Método de discernimento.AbstractThis paper analyses the Professional Ethics course at the School of Law of Universidad Católica de Temuco. It reviews the way in which ethics was addressed before the course was created, and what has happened with it through the subsequent curricular changes and the implementation of a competency based model. The course contributes to the seal of identity through a multidisciplinary approach. Theory and practice have been progressively bound together since the course was introduced, to reach a point, nowadays, in which the course is understood within the logic of competencies. This point of view implies educating students for solving ethical dilemmas, which is done through the see–judge–act methodology. This discernment methodology belongs to the Roman Catholic tradition, but is used in this context without its religious complexion. This method allows educating autonomy in order to make decisions. It also analyses the importance of contextualizing ethics education and the way in which this has been done in the course. Finally, it addresses the relevance ofcreating an ethical consciousness of the students.Keywords: Teaching experience – Professional Ethics – Discernment method

Performing the Mass in B Minor in an Age of Choices

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Nineteenth Century ◽  
Johann Sebastian Bach ◽  
Point Of View ◽  
Performance History ◽  
History Of ◽  
Compositional History

Every performance of Johann Sebastian Bach’'s Mass in B Minor makes choices. The work’s compositional history and the nature of the sources that transmit it require performers to make decisions about its musical text and about the performing forces used in its realization. The Mass’s editorial history reflects deeply ideological views about Bach’s composition and how it should sound, not just objective reporting on the piece, with consequences for performances that follow specific editions. Things left unspecified by the composer need to be filled in, and every decision—including the choice to add nothing to Bach’s text—represents an interpretation. And the long performance history of the Mass offers a range of possibilities, reflecting a tension between the performance of a work like the Mass in Bach’s time and the tradition inherited from the nineteenth century. Every performance thus represents a point of view about the piece; —there are no neutral performances.

The Well-Mannered Auditor

2018 ◽  
Author(s):  
James Deaville
Keyword(s):  
Nineteenth Century ◽  
English Language ◽  
The Self ◽  
Modern World ◽  
Music Making ◽  
Social Events ◽  
Drawing Room ◽  
The Way

The chapter explores the way English-language etiquette books from the nineteenth century prescribe accepted behavior for upwardly mobile members of the bourgeoisie. This advice extended to social events known today as “salons” that were conducted in the domestic drawing room or parlor, where guests would perform musical selections for the enjoyment of other guests. The audience for such informal music making was expected to listen attentively, in keeping with the (self-) disciplining of the bourgeois body that such regulations represented in the nineteenth century. Yet even as the modern world became noisier and aurally more confusing, so, too, did contemporary social events, which led authors to become stricter in their disciplining of the audience at these drawing room performances. Nevertheless, hosts and guests could not avoid the growing “crisis of attention” pervading this mode of entertainment, which would lead to the modern habit of inattentive listening.

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