scholarly journals Bestselling ‘beeldekens’. Hendrik Consciences “Hoe men schilder wordt” (1843) en de negentiende-eeuwse populaire beeldcultuur

2021 ◽  
Vol 31 ◽  
pp. 123-139
Author(s):  
Marlou De Bont
Keyword(s):  
Nineteenth Century ◽  
Popular Literature ◽  
Text And Image ◽  
Current Image ◽  
European Literature ◽  
Starting Point ◽  
Book Illustrations

Around the mid-nineteenth century, European literature abounded with book illustrations and the use of a pictorial style. Depending on the context and perspective, this literary fashion was associated with a threatening democratization of literature or perceived as a chance to reach new audiences. This article investigates whether the striking interactions between text and image in the internationally popular novella Hoe men schilder wordt (1843) by the Flemish author Hendrik Conscience can be regarded as a factor in its nineteenth-century popularity, and as a starting point for Conscience’s current image as an author of ‘popular’ literature, aiming at broad upcoming audiences.

scholarly journals ESTRATÉGIA INFERENCIAL PARA LER O LIVRO ILUSTRADO

2019 ◽  
Vol 21 (1) ◽  
pp. 176-196
Author(s):  
Márcia Tavares
Keyword(s):  
Graphic Design ◽  
Reading Strategies ◽  
Book Reading ◽  
Text And Image ◽  
Written Text ◽  
Illustrated Books ◽  
Children's Book ◽  
Starting Point ◽  
Book Illustrations ◽  
Narrative Spaces

De maneira geral a leitura de imagens no livro ilustrado ainda está relacionada à primazia da palavra e aos modos de ler em um conjunto de interdependências entre o texto escrito e as imagens. Para verificar a construção de sentidos advinda dessa relação, apresentamos a análise do livro Lá e aqui (2015), de Carolyna Moreyra, ilustrado por Odilon Moraes. Destacamos, a partir do espaço gráfico e narrativo, uma proposta de leitura permeada pelo uso das estratégias centradas em inferências, e ainda verificamos quais elementos plásticos estão dispostos no projeto gráfico e na composição do diálogo entre texto e imagem. Esses aspectos foram explorados seguindo as diretrizes de Oliveira (2008), que delimita uma primeira leitura estrutural como porta de entrada metodológica para a leitura de imagens. Para o estudo da aplicação das estratégias de inferência, tomamos Girotto e Souza (2011) e utilizamos os pressupostos inseridos na prática de leitura das palavras e na transposição de conceitos para a leitura das ilustrações do livro infantil. Palavras-chave: Livro ilustrado. Estratégias de leitura. Inferência. Odilon Moraes. INFERENTIAL STRATEGY TO READ ILLUSTRATED BOOKS Abstract: Generally, reading images in illustrated books is still related to the primacy of the word and to the ways of reading in a set of interdependencies between the written text and the images. To verify the construction of meanings derived from this relation, an analysis of Carolyna Moreyra's book, Lá e aqui (2015), illustrated by Odilon Moraes, was carried out. From the graphic and narrative spaces, a reading proposal, which includes the use of strategies focused on inferences, was made. Plastic elements which are arranged in the graphic design and the composition of the dialogue between text and image were also checked. These aspects were considered through the guidelines of Oliveira (2008), which sets a first structural reading as the methodological starting point to read images. Girotto and Souza (2011) was the basis for the study of the application of inference; assumptions inserted in the practice of reading words and in the transposition of concepts to read children's book illustrations were also used. Keywords: Illustrated book. Reading strategies. Inference. Odilon Moraes.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Liszt at the Piano: The Impact of Iconography on mid-Nineteenth Century Musicology

2014 ◽  
Vol 55 (1-2) ◽  
pp. 131-144
Author(s):  
Suzanne Marie Francis
Keyword(s):  
Nineteenth Century ◽  
Music History ◽  
Collective Identities ◽  
Cultural Contexts ◽  
Maximum Benefit ◽  
Starting Point ◽  
The Social ◽  
Iconic Status ◽  
The Impact

By the time of his death in 1827, the image of Beethoven as we recognise him today was firmly fixed in the minds of his contemporaries, and the career of Liszt was beginning to flower into that of the virtuosic performer he would be recognised as by the end of the 1830s. By analysing the seminal artwork Liszt at the Piano of 1840 by Josef Danhauser, we can see how a seemingly unremarkable head-and-shoulders bust of Beethoven in fact holds the key to unlocking the layers of commentary on both Liszt and Beethoven beneath the surface of the image. Taking the analysis by Alessandra Comini as a starting point, this paper will look deeper into the subtle connections discernible between the protagonists of the picture. These reveal how the collective identities of the artist and his painted assembly contribute directly to Beethoven’s already iconic status within music history around 1840 and reflect the reception of Liszt at this time. Set against the background of Romanticism predominant in the social and cultural contexts of the mid 1800s, it becomes apparent that it is no longer enough to look at a picture of a composer or performer in isolation to understand its impact on the construction of an overall identity. Each image must be viewed in relation to those that preceded and came after it to gain the maximum benefit from what it can tell us.

Unity and Engagement in the Modern World

2021 ◽  
pp. 507-527
Author(s):  
John Halsey Wood
Keyword(s):  
Nineteenth Century ◽  
Modern World ◽  
Western World ◽  
Starting Point

In the midst of the roiling chaos of the nineteenth century, Abraham Kuyper’s Neo-Calvinism was a strategy to maintain a Calvinist unity and engagement with an increasingly disintegrated Western world. The unity Kuyper pursued was of two kinds: intellectual and social. As a thinker, Kuyper valued coherent, interrelated systems. He took as his starting point the systematic Calvinism of Protestant scholastics and the Reformed Confessions as well as Romanticism’s organic impulse which elevated the organic and natural over mechanical and artificial. In addition to a unified mind, Kuyper also pursued a unified Calvinist community, albeit a different kind than imagined by earlier Calvinists. Under the pressures of modernity, Kuyper didn’t pursue a repristinated Calvinist culture, but a renewed Calvinist subculture.

‘Gij moet de heidegrond ontginnen’

2021 ◽  
Vol 5 (3/4) ◽  
pp. 251-267
Author(s):  
Anneloek Scholten ◽  
Sophie van Os
Keyword(s):  
Nineteenth Century ◽  
Content Type ◽  
Starting Point ◽  
The Way

Abstract ‘You Must Cultivate the Heathland’. The Society of Benevolence and the cultivation of soil in the nineteenth-century press. In the nineteenth century, debates surrounding the cultivation of Dutch soil and processes of civilisation were inextricably linked. This article examines the discourse surrounding cultivation of heathlands in newspaper reports about the Society of Benevolence in the 1820s and 1840s. It considers the way the cultivation of heathland in Drenthe is framed as a civilizing force and reflects on the tensions between nation and region in reporting on this issue, as local economic and cultural interests conflicted with nationalist visions of progress and the interests of urban investors. Comparing Dutch and British reports on the Society, the article also forms a starting point for a transnational perspective on this topic.

The Debt Chronotope

differences ◽  
2020 ◽  
Vol 31 (3) ◽  
pp. 29-47
Author(s):  
Frederik Tygstrup
Keyword(s):  
Nineteenth Century ◽  
Contemporary Literature ◽  
Time And Space ◽  
European Literature ◽  
Narrative Time ◽  
Financial Capitalism

When literature engages in portraying the contemporary rule of finance and its impact on our lives, it also entails a transformation of the forms through which literature represents our lives. Over the last decades, as debt has become an ever more important motive in contemporary literature, we have thus also seen the contours of a new debt chronotope: a particular organization of narrative time and space that can gauge and expound on the working of debt-driven financial capitalism. This essay’s argument hinges partly on an analysis of the spatiotemporal logic of contemporary financial capitalism and partly on the historical transformation of representations of debt from nineteenth-century realism to European literature of the present.

French Influences on Germany’s Commercial Courts in the Nineteenth Century

2020 ◽  
Vol 88 (3-4) ◽  
pp. 469-494
Author(s):  
Thomas Vogl
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Modern Literature ◽  
French Law ◽  
Present Contribution ◽  
Legal Situation ◽  
Starting Point ◽  
State Of Research ◽  
Further Development ◽  
Commercial Courts

Summary The present contribution explores the extent of influence which French law had on the development of Germany’s commercial courts in the nineteenth century. Modern literature describes this influence as marginal, yet without further proof. The author takes this state of research as a starting point to compare the Napoleonic legislation on commercial courts with the German commercial court systems of the nineteenth century. However, the present contribution will start with an overview of the German legal situation at the end of the eighteenth century. This is followed by an examination of whether French law was transferred to Germany during the French occupation of large parts of Germany at the beginning of the nineteenth century. Against this background it is possible to fully analyse the influence which French law had on the further development of German commercial courts.

Is Medieval Music the New Avant-Garde? The Wilful, the Wayward and the Playful

2017 ◽  
Author(s):  
Graham Coatman
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Creative Process ◽  
Point Of View ◽  
Early Music ◽  
Avant Garde ◽  
Medieval Music ◽  
Starting Point ◽  
New Research

In his masterful exposé, The Modern Invention of Medieval Music, Daniel Leech-Wilkinson deliciously debunks much traditional thinking about medieval music, arguing that changing perspectives on this increasingly re-discovered and available body of work may be more dependent on the personality of the scholars and performers involved in its dissemination than the findings of new research. In this chapter, writing from the point of view of a composer and musician equally involved in the performance of both new and early music, Graham Coatman examines the work of contemporary composers who have chosen medieval models as their starting point. Is their use of medieval material a means to establish identity and authenticity, or a reaction against the harmonic and formal legacy of the nineteenth century? How is the use of pre-existent material integrated into the contemporary creative process? With reference to selective case studies, Coatman finds parallels with their medieval counterparts that make their work all the more compelling.

Caricature

2017 ◽  
Author(s):  
Catherine J. Golden
Keyword(s):  
Nineteenth Century ◽  
Lewis Carroll ◽  
William Makepeace Thackeray ◽  
Book Illustration ◽  
Vanity Fair ◽  
Alice In Wonderland ◽  
Full Page ◽  
Book Illustrations

In its theatricality, caricature-style book illustration approximates the tableau style popular in the nineteenth century. This chapter examines book illustrations by George Cruikshank, Phiz, Richard Doyle, John Leech, and Robert Cruikshank that, like tableaux, capture a dramatic moment in works by Dickens, Ainsworth, and Thackeray. With lighting, props, clever casting, and detail-laden backdrops, the caricaturists staged scenes ranging from the sensational to the sentimental, from the deeply psychological to the broadly comic. “Caricature: A Theatrical Development” adds two Victorian author-illustrators to this list of recognized caricaturists. Better known as an author than an illustrator, William Makepeace Thackeray designed theatrical pictorial capital letters, vignettes, tailpieces, and full-page engravings for his best-known Vanity Fair (1848) and cast his heroine Becky Sharp in various stage roles. To dramatize Alice’s transformations, Lewis Carroll recalled popular caricature techniques in his illustrations for the first version of Alice in Wonderland (1865) entitled Alice’s Adventures Underground(1864) at a time when realistic illustration held sway. This chapter also examines artistic limitations and scandals (e.g. Robert Seymour’s suicide, Cruikshank’s claim of authoring Dickens’s works) that led to a dismissal or devaluation of the caricaturists and a privileging of the Academy trained artists who entered the field of illustration in the 1850s.

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