Epidemics as Leisure Killers: The Transformation of Japan’s Entertainment Industry in the Second Half of the 19th Century

2021 ◽  
Vol 31 (1) ◽  
pp. 195-217
Keyword(s):  
19Th Century ◽  
Social Disorganization ◽  
The Other ◽  
Entertainment Industry ◽  
Economic Changes ◽  
The Past ◽  
The Common ◽  
The Individual ◽  
The 19Th Century

Among the various human attitudes toward a pandemic, along with fear, despair and anger, there is also an urge to praise the catastrophe or imbue it with some sort of hope. In 2020 such hopes were voiced in the stream of all the other COVID-19 reactions and interpretations in the form of predictions of imminent social, political or economic changes that may or must be brought on by the pandemic, or as calls to “rise above” the common human sentiment and see the pandemic as some sort of cruel-but-necessary bitter pill to cure human depravity or social disorganization. Is it really possible for a plague of any kind to be considered a relief? Or perhaps a just punishment? In order to assess the validity of such interpretations, this paper considers the artistic reactions to the pandemics of the past, specifically the images of the plague from Alexander Pushkin’s play Feast During the Plague, Antonin Artaud’s essay “The Theatre and the Plague” and Albert Camus’s novel The Plague. These works in different ways explore an attitude in which a plague can be praised in some respect. The plague can be a means of self-overcoming and purification for both an individual and for society. At the same time, Pushkin and Camus, each in his own way and by different means, show the illusory nature of that attitude. A mass catastrophe can reveal the resources already present in humankind, but it does not help either the individual or the society to progress.

Praise Be to the Plague?

2021 ◽  
Vol 31 (1) ◽  
pp. 179-194
Keyword(s):  
Social Disorganization ◽  
The Other ◽  
Economic Changes ◽  
The Past ◽  
The Common ◽  
The Individual

Among the various human attitudes toward a pandemic, along with fear, despair and anger, there is also an urge to praise the catastrophe or imbue it with some sort of hope. In 2020 such hopes were voiced in the stream of all the other COVID-19 reactions and interpretations in the form of predictions of imminent social, political or economic changes that may or must be brought on by the pandemic, or as calls to “rise above” the common human sentiment and see the pandemic as some sort of cruel-but-necessary bitter pill to cure human depravity or social disorganization. Is it really possible for a plague of any kind to be considered a relief? Or perhaps a just punishment? In order to assess the validity of such interpretations, this paper considers the artistic reactions to the pandemics of the past, specifically the images of the plague from Alexander Pushkin’s play Feast During the Plague, Antonin Artaud’s essay “The Theatre and the Plague” and Albert Camus’s novel The Plague. These works in different ways explore an attitude in which a plague can be praised in some respect. The plague can be a means of self-overcoming and purification for both an individual and for society. At the same time, Pushkin and Camus, each in his own way and by different means, show the illusory nature of that attitude. A mass catastrophe can reveal the resources already present in humankind, but it does not help either the individual or the society to progress.

scholarly journals Management of the common oak forests in Ravni Srem: Yesterday, today, tomorrow

Topola ◽  
2020 ◽  
pp. 41-52
Author(s):  
Vid Rađević ◽  
Predrag Pap ◽  
Verica Vasić
Keyword(s):  
Forest Management ◽  
19Th Century ◽  
Oak Forests ◽  
Oak Forest ◽  
Historical Overview ◽  
Protection Measures ◽  
The Past ◽  
The Common ◽  
The 19Th Century ◽  
Common Oak

The paper shows a historical overview of the common oak forest management in Ravni Srem from the end of the 19th century to the present. Particular attention is paid on various ways of regeneration, tending and protection measures of these forests in the past and present and proposed the directions for the common oak forests regeneration in the future.

Forward-Looking Retrospection: Enharmonicism in the Classical Era

2002 ◽  
Vol 19 (2) ◽  
pp. 332-373 ◽  
Author(s):  
Paula Telesco
Keyword(s):  
19Th Century ◽  
Large Scale ◽  
18Th Century ◽  
Central Place ◽  
The Other ◽  
Compositional Techniques ◽  
The Past ◽  
The 19Th Century ◽  
Early 18Th Century ◽  
Tonal System

Enharmonicism steps to the fore only occasionally in 18th-century music. Indeed, over the past two centuries, it has been commonly assumed that it was invoked only when a special affect demanded it (as in the much-discussed "Dance of the Furies" from Rameau's Hippolyte et Aricie). But a survey of 18th-century music refutes this perception and reveals that the enharmonicism of the 18th century can be broadly defined as belonging to one of two categories: simultaneous or immediate enharmonicism, and retrospective enharmonicism. Most early 18th-century examples restrict their usage to the simultaneous/immediate type, which consists of reinterpretations of enharmonic pivot chords. Retrospective enharmonicism, on the other hand, is less common than immediate enharmonicism but is remarkable because it presages the expansion of the diatonic tonal system into the chromatic tonal system of the 19th century. Retrospective enharmonicism does not involve the reinterpretation of an enharmonic pivot chord, nor is a reinterpretation perceived at any one point; it becomes clear only in retrospect that one must have occurred. Rather than a negation of some resolution tendency, as happens in the reinterpretation of a dominant seventh as an augmented sixth, there is a (typically large-scale) trajectory away from some tonic which is eventually regained through the enharmonic door. Some note or chord is respelled as its enharmonic equivalent, but without any aural clue. Drastic key changes of the sort typically encountered in instances of retrospective enharmonicism are for the most part proscribed in the writings of such composers and theorists as Rameau, Kirnberger, Koch, Heinichen, and Vogler, all of whom wrote in detail about staying within an orbit of closely related keys and rarely going directly from one key to another too far away. Nevertheless, this type of enharmonicism was a recognized compositional resource which, though used relatively infrequently in the 18th century, came to occupy a more central place in the realm of available compositional techniques in the 19th century.

scholarly journals Korrida i karliści. Wspomnienia Piotra Falkenhagena-Zaleskiego z podroży do Hiszpanii (1843)

2021 ◽  
Vol 21 ◽  
pp. 112-130
Author(s):  
Adam Kucharski
Keyword(s):  
International Trade ◽  
19Th Century ◽  
Department Store ◽  
The Other ◽  
European Countries ◽  
The Past ◽  
Other Hand ◽  
Cultural Reality ◽  
The 19Th Century ◽  
Stay Behind

Among the accounts of travels in Spain in the 1st half of the 19th century, there is a rather unknown memoir of Piotr Falkenhagen-Zaleski, written on the basis of his 1843 experiences. This exceptionally capable and flexible emigrant began his career in international trade, having successfully tried his hand at journalism and politics in the past. He became an employee at the Henry Hall department store in London, and then opened his own company of the same sort, establishing contacts in many European countries. The travel to Spain aimed at securing another contract. It appears that he did not achieve this goal. On the other hand, the stay behind the Pyrenees, mainly in Barcelona and Madrid, and the very travel from France to Spain allowed the Polish traveller to become familiar with two elements of the Spanish (political and cultural) reality through an incident with the Carlists and the corrida spectacle. He put those experiences in an interesting, although brief report from Spain.

scholarly journals TELLING HISTORIES OR ACCOUNTING FOR ASPECTS OF THE PAST: A HISTORIOGRAPHICAL CHOICE IN A EUROPEAN HISTORICAL PERSPECTIVE

2021 ◽  
Vol 163 (3) ◽  
pp. 9-20
Author(s):  
R. Torstendahl ◽  
Keyword(s):  
19Th Century ◽  
Historical Perspective ◽  
Historical Research ◽  
The Other ◽  
Historical Knowledge ◽  
The Past ◽  
Theory Of History ◽  
The Difference ◽  
Historical Writings ◽  
The 19Th Century

The article departs from the difference between two types of historical writings, one narrating stories about actors and the other trying to bring about evidence that justify claims to know certain things about specific aspects of the past. From the Iliad and the Odyssey, telling stories have been a common way of presenting past events. Inscriptions and annals, as well as graves and monuments, urged to present posterity with evidence for acts and occurrences. Storytelling was always more popular than searching for evidence. In the 19th century, historians began to systematise their doubts about the truth of many stories. This source criticism has been refuted by many “historical theorists” in the late 20th and the early 21st centuries with the argument that claims that it is impossible to bring truth about the past and that all history is to be regarded as a kind of literature with, at best, symbolic “truth”. I want to reject this standpoint as based only on an internal “theory of history”-discourse and ask for analyses of actual historical research, which claims to produce new historical knowledge.

The nineteenth-century art book: Content, Style and Context

1992 ◽  
Vol 17 (3) ◽  
pp. 12-17
Author(s):  
Trevor Fawcett
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
19Th Century ◽  
Source Material ◽  
Decorative Arts ◽  
The Other ◽  
Key Factors ◽  
The Individual ◽  
Cult Of The Individual ◽  
The 19Th Century

Although ‘art books’ of various kinds existed before 1800, art publishing grew significantly and with increasing speed through the 19th century. Two key factors, each encouraging the other, were the growth of interest in art among a heterogeneous public, and developments in printing technology, especially in methods of reproducing illustrations. Increasing numbers of illustrated art books contributed to the dissemination of awareness of an ever-broader spectrum of works of art, and of the decorative arts, throughout society, and nourished the historicism and eclecticism practised by contemporary artists and designers. The Romantic Movement’s cult of the individual artist prepared the way for the emergence of the artist’s monograph as a significant category of art book, made possible by the capacity to reproduce an artist’s works. The growth of art historical scholarship, informed by a new rigour, brought about the publishing of scholarly works incorporating documentary research, and of previously unpublished or newly-edited source material; art reference works, of several kinds, also multiplied. By 1900 art publishing had set all the precedents it would need until well into the second half of the 20th century.

scholarly journals Od ideologije do subverzije: promišljanje jugoslavenstva u Hrvatskoj u 21. stoljeću

2021 ◽  
pp. 65-76
Author(s):  
Petr Stehlík
Keyword(s):  
19Th Century ◽  
21St Century ◽  
The State ◽  
The Other ◽  
Former Yugoslavia ◽  
Cultural Model ◽  
The Past ◽  
A Value ◽  
Privileged Status ◽  
The 19Th Century

After the breakup of Yugoslavia and the “abduction” of Yugoslav name by the regime of Slobodan Milošević, it seemed that Yugoslavism is a concept solely belonging to the past. Yugoslavism lost its national-integrational role it used to have in the 19th century, as well as its privileged status of the state ideology, which it used to enjoy in both incarnations of Yugoslavia. However, at the dawn of 21st century several Croatian intellectuals – with historian and publicist Dragan Markovina at the forefront – strive to reconceive Yugoslavism. The aim of the paper is to present and contextualize their deliberations on Yugoslavism as a subversive strategy and a value alternative to the dominant cultural model in Croatia and the other countries of the former Yugoslavia.

scholarly journals With no right to have rights. Conflict analysis and the common rights of the townsfolk of Rymanów in the latter half of the 19th century

2021 ◽  
Vol 18 (1) ◽  
pp. 20-38
Author(s):  
Joachim Popek ◽  
Keyword(s):  
Public Administration ◽  
19Th Century ◽  
The Other ◽  
National Commission ◽  
Official Document ◽  
The Public ◽  
Other Hand ◽  
The Common ◽  
The 19Th Century ◽  
The Town

This article concentrates on an inquest held by the local commission in Sanok into the common rights claimed by the inhabitants of the town of Rymanów in the latter half of the 19th century. The negotiations, which commenced in 1859, sometimes took a heated turn. They were attended by much conflict and misunderstanding, equally between the manor and the town as among the townsfolk themselves. Conclusions drawn from the analysis of the archive source provided the basis on which to evaluate the activities of each of the parties – the town’s agents and the landlords – and, interestingly, those of the commissioners and other officials in the public administration, whose decisions exhibited bias. The townsfolk began the negotiation from a position of certainty and conviction of the legal force of Prince Czartoryski’s privilege granting the disputed common rights to them. The manor’s agent, on the other hand, took a bold position, which he consistently maintained. He disputed the authenticity of Czartoryski’s grant and even the fact that the Prince had ever held the manor. This approach ultimately proved successful. Attention is also drawn to the role played by local commissioners and the officials in the National Commission in Lviv, the latter making the most important decisions. The first phase demonstrates the commissioners’ influence on the original outcome. The rationale given for the second decision, on the other hand, shows the arbitrariness with which the Lviv Commission made its ruling, based on just one official document. Analysis of the proceedings highlights a more general trend prevalent in Galicia, first described in the example of Rymanów. This is a case in which two consecutive inquests in the same matter ultimately ended in a negative decision. In other words, the townsfolk’s claims were dismissed, and they were denied any common rights eligible for buyout or regulation.

The Getty Provenance Index steams ahead

1999 ◽  
Vol 24 (4) ◽  
pp. 49-51 ◽  
Author(s):  
Burton Fredericksen
Keyword(s):  
19Th Century ◽  
Strong Incentive ◽  
The Past ◽  
The World ◽  
The Individual ◽  
The 19Th Century

For the past fifteen years the Getty Provenance Index has developed a series of projects that index auction catalogues, beginning with British catalogues of the 19th century and followed by French, Dutch, German and Belgian catalogues of the same period or earlier. This has led to the discovery of many previously unrecorded catalogues, most notably German and Belgian, providing a strong incentive to consider how Frits Lugt’s Répertoire des Catalogues de Ventes should eventually be revised, and even brought up to date. The Getty projects also include automating the individual items in the catalogues, which has led not only to much new data about the provenance of paintings held by museums in many parts of the world, but has also helped to identify the owners of collections found in previously anonymous sale catalogues.

scholarly journals HARDY AS A MODERN NOVELIST

2015 ◽  
Vol 54 (2) ◽  
pp. 57-67
Author(s):  
Saima Manzoor
Keyword(s):  
19Th Century ◽  
Psychological Disorders ◽  
Life Time ◽  
Broad Context ◽  
The Other ◽  
Long Time ◽  
The Common ◽  
Common Man ◽  
The 19Th Century

Hardy is the last of the Victorian and one of the most popular novelists of England. He, being an author of unique endowments, was not much esteemed in his life time. Hardy became the victim of stereotypical criticism and was badly ostracized by the ecclesiastical circles and the critics of his time as they merely focused on the depressing features of his fiction. This paper intends to reveal certain aspects of his work which remained neglected for a long time. The present study is designed to focus on those characteristics of his work which win the title of a modern novelist for him. Hardy was quite conscious of the shifting environment around him at the vogue of industrialization that left profound marks on his meditative temperament. His depiction of the 19th century scenario is dominated with clash and collision between innovation and tradition. His art deals with twofold aspects of modernity exposing the sanguine and gloomy consequences of modernity. Owing to such an approach of the writer he is regarded as a social realist and one of the earliest of the modern novelists. Hardy poignantly observes the pathetic condition of the labourers, on one hand, and the modern mechanical advancements, one the other, which were of little benefit for the common man in society. The current study is designed to focus upon his approach to the modern developments in the broad context of social and political changes. Hardy is a modern novelist as he concentrates on the current issues such as gender, class, social and psychological disorders, etc. He is a supporter of class and female liberation.

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