scholarly journals ′Education is our daily bread′: Church polyphony, educational processes and the Serbian national identity between 1830 and 1914

Muzikologija ◽  
2007 ◽  
pp. 199-216
Author(s):  
Ivana Perkovic-Radak
Keyword(s):  
19Th Century ◽  
Church Music ◽  
Educational Systems ◽  
School Year ◽  
Educational Processes ◽  
Working Together ◽  
The Individual ◽  
Novi Sad ◽  
The 19Th Century ◽  
Cultural Positioning

Choral church music had different functions in Serbian society of the 19th century. It was a part of many processes or even initiated them itself broadly affecting the sphere of culture. One of its purposes had strong educational and national implications. In this paper I do not study these as musical and historical elements emphasizing existent social tendencies, but rather as processes that generated certain components through church music (both in the educational sense and in the sphere of broader social structures). The early beginnings of church polyphony among Serbs were marked by choirs comprising older members and pupils. For example, members of the Serbian parish in Pest, who started working together in 1835 and sang the complete Divine Liturgy for the first time in 1838, were both pupils and students. In 1841 and 1842 students of Alexandar Morfidis-Nisis in Novi Sad sang in church, while in the same school year Belgrade high school first introduced choral singing. The comparison of the development of educational systems in states inhabited by Serbs in the 19th century is used as the basis for seeing historical and cultural positioning as one role of choral church music. Certain elements of the national program, such as progress comprehension of the nation as a community of individuals, distention of the individual, or the process of socialization were shared by church polyphonic singing. These elements are studied in the context of the development of European and Serbian educational systems, mostly from a historical perspective.

scholarly journals JEG SER DE BØGELYSE ØER – OG DETTE FOLK ER VORT: Om emotionalisering, subjektivering og danske sange

2000 ◽  
Author(s):  
Tine Damsholt
Keyword(s):  
Everyday Life ◽  
19Th Century ◽  
Landscape History ◽  
Danish Population ◽  
Individual Subject ◽  
Emotional Bonds ◽  
Bodily Experiences ◽  
The Individual ◽  
The 19Th Century

The article deals with questions of subjectivation. The emotional bonds between a landscape and the individual as interpreted in Danish patriotic songs from the 19th-century are seen as crucial in the process of subjectivation turning the Danish population into a patriotic or selfconscious people. In the songs the sensing self is turned into a Danish self, an individual subject but part of a certain landscape, history and nation. Furthermore the Danish folkhigh-schools are seen as institutions of subject-ivation, since singing patriotic songs here became a natural part of everyday life. In the light of the Foucauldian perspective the emotional and bodily experiences at the folk-highschools (often staged outdoors in the Danish landscape) are interpreted as "technologies of the national self", since it is precisely via individuals’ work with themselves that the national subjectivation takes place.  

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.

scholarly journals “Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song

2019 ◽  
Vol 18 (18) ◽  
pp. 73-88
Author(s):  
Yuanmei Lian
Keyword(s):  
19Th Century ◽  
Instrumental Music ◽  
Song Cycle ◽  
General Context ◽  
Musical Aesthetics ◽  
Creative People ◽  
Historical Method ◽  
The Creation ◽  
The Individual ◽  
The 19Th Century

Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of the song cycle “Myrthen” (1840). How do these two vocal miniatures, that are one of the first in the composer’s vocal creativity, reflect the individual style of his writing? Do they correlate with the nature of the “true” Schumann, who is known for his famous works, such as the cycle “A poet’s Love”? Objective. The purpose of the article is to comprehend composer methods of Venice image embodiment in “Zwei Venetianische Lieder” in the context of creative tradition of the Austro-German romantic song. Methods used in the research: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the 19th century; 2) intonational method, which involves the study of vocal melody in terms of melodic reactions to figurative content; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The results of the study. “Zwei Venetianische Lieder” were grown up in the artistic climate of its era. The popularity of traveling in the circles of well-educated youth was a practical realization of spiritual impulses and the inner need to push the boundaries of the information space for awareness of the nature of self-own identity through a meeting with a different culture and worldview. Italy, and the entire Mediterranean areal, as the cradle of the Christian humanist culture, was a center of attraction for the German romantics. The creation of the artistic and aesthetic archetype of Italy and Venice by J. W. Goethe in “Italian Travels” and “Epigrams” has created a tradition of perception these themes not only in German literature, but also in music. R. Schumann was one of the first to respond to this creative idea. He was also the first among German composers to turn to the “poetic” Venice of the Englishman Thomas Moore and initiated the appearance of a series “Venetianische Lieder” in Austro-German music of the 19th century. A number of authors were involved in the creation of this series – F. Mendelssohn Bartholdi, A. Fesca, С. Dekker, and others. The melancholic mood of the many “Venetianisches Gondellied” written by German composers was the result of the process of mythologizing the image of Venice. The creative people (poets, writers, composers, painters) were involved in this process. They perceived this city through the prism of artistic relations, associations, and sought in its canonical symbols (channels, gondolas, sea, mirror, mask) new semantic dimensions, means of the expression of self-reflection. “Zwei Venetianische Lieder” from the song cycle “Myrthen” by R. Schumann stand apart on this list as not only the first, but also as the works distinguished by its originality. 1840 year is considered as the “song year” in the composer’s work. In this year 138 songs and the best of song cycles were written by the composer: “Liederkreis” ор. 24, “Myrthen” ор. 25, “Liederkreis” ор. 39, “Frauenliebe und Leben” ор. 42, “Dichterliebe”, ор. 48. After the “piano decade” (1829–1839) Schumann’s appeal to the song came a surprise, in particular, for the author himself. This led to the change in his musical aesthetics, to the revision of the hierarchy entrenched in the consciousness, about the primacy of music over other arts and the instrumental music over the vocal. Although the cycle “Myrten” op. 25 (1840) is one of the first in the vocal works by R. Schumann, it is distinguished by the maturity of style writing. R. Schuman’s psychological sensitivity to the poetic word is conveyed in the intonational nature of the songs, careful selection of harmonic means, finely tuned tonal plans that can emphasize both, contemplation and rebelliousness. Musical and poetic integrity is also ensured by the increased importance of the accompaniment and the piano part in whole that include the expressive instrumental introductions and postludes aimed at revealing of an image. Conclusion. The study of R.Schumann’s “variations” on Thomas Moore’s “Venice” as a separate scientific topic makes it possible to realize the scale of the creative competition established by the outstanding composer in his “Zwei Venetianische Lieder” from the vocal cycle “Myrthen”.

scholarly journals Yakut clothes of the 17th and 18th centuries, archaeology and restitution

2020 ◽  
pp. 131-147
Author(s):  
Ch. Hochstrasser-Petit ◽  
L. Romanova ◽  
S. Duchesne ◽  
O. Melnichuk ◽  
P. Gérard
Keyword(s):  
19Th Century ◽  
17Th Century ◽  
The Individual ◽  
The 19Th Century

40 frozen yakutian graves, from the 17th to the 19th century allow the reconstitution of clothes. At the end of the 17th century, new fashions are emerging with the ostentatious use of imported goods and the influences of Russian noble circles and Chinese and/or Mongol and/or Buriat fashions. The garment does not only seem to be any more an element of protection against the cold and a utilitarian object but becomes a way to marking the so-cialization of the individual.

scholarly journals Musical Shevchenko Series of Vladyslav Zaremba

2019 ◽  
pp. 78-92
Author(s):  
Tetiana Krulikovska
Keyword(s):  
19Th Century ◽  
Social Issues ◽  
Musical Language ◽  
Main Attention ◽  
Musical Culture ◽  
Inner World ◽  
Vocal Works ◽  
The Individual ◽  
The 19Th Century

The article deals with a generalized musicological analysis of the songs from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish origin Vladyslav Zaremba in order to attract attention to the composer’s creative heritage, reveal the most typical features of his musical language and determine their stylistics in the context of the 19th century musical culture. Also the article attempts to specify the significance of the vocal works collection in the context of developing the Ukrainian romance and the 19th century Ukrainian T. Shevchenko series.The article focuses on the content of vocal compositions associated with typical folk characters, as well as the composer’s vision of his characters’ complex and rich inner world. The article considers the works devoted to the themes of orphanhood, loneliness, alien land, love, typical romantic motives of the Cossack will, sentiments of grief and melancholy, which form the figurative and poetic content of Shevchenko’s poems.The analysis is focused not only on V. Zaremba’s lyrical songs, but also his vocal works, which raise the complex social issues of difficult maidenhood, orphanhood, the search for better life, the main characters’ romantic attempts to realize their dreams and the sad realities. The main attention is focused on the role of the piano, which is interpreted by the composer as an active participant in the dramatic action. However, the piano version of V. Zaremba’s vocal works highlights an extremely important and vivid element of the national sound sphere, namely the imitation of playing the bandura, which performs the semantic role of the national Ukrainian symbol and is perceived as an important component of the national culture. Thus, the conducted analysis allows visualizing the figurative and emotional world of T. Shevchenko’s poetry and deducing the values of the bandura as a semiotic sign in the 19th century Ukrainian musical culture, which will become especially noticeable in M. Lysenko’s works. An important issue in analyzing the composer’s style is the focus on the synthesis of European school achievements with the individual elements of the national school as a certain stage in the development of Ukrainian professional music, which replaces amateurism and dilettantism.

scholarly journals touch of separation— toward an ethics of anxiety in the age of the global contagion

2021 ◽  
Vol 1 (1) ◽  
pp. 128-140
Author(s):  
Jeffrey S. Librett
Keyword(s):  
World War Ii ◽  
19Th Century ◽  
Anxiety State ◽  
World War ◽  
Ethical Imperative ◽  
Post World War Ii ◽  
The Social ◽  
Simultaneous Separation ◽  
The Individual ◽  
The 19Th Century

I examine the relation between anxiety and the COVID-19 pandemic.  For context, I begin by sketching the rise of anxiety as a theme from the 19th century to the post-World War II era, as a mood of the individual in a world without absolutes.  Then, I characterize the current moment as the age of the anxiety of the global contagion.  Next, I examine the most general effects of the COVID-19 pandemic on the individual ego, as simultaneous radical separation from and connection with others.  I proceed to juxtapose this situation with Freud’s anxiety theory, which likewise involves simultaneous separation and connection.  The social ego today thus appears, from a Freudian perspective, as in an exacerbated anxiety-state.  I claim that this exacerbation helps us understand more clearly Freud’s anxiety theory, and vice versa.  I then consider where this anxiety takes place, and so I examine the Freudian “site” of anxiety—the ego. This examination clarifies two aspects of Freud’s ego-theory: both the sense in which the Freudian ego is (post)modern, and the sense in which Freud’s linkage of anxiety with the ego is not occasional, but constitutive.  That is, the ego is the site of anxiety, in that anxiety characterizes the ego as such, because the ego is a (post) modern liminal structure.  I suggest in conclusion that the affirmation and acceptance of anxiety as a fundamental experience of the ego, and of the psyche more generally, constitutes an ethical imperative for psychoanalysis in general, and especially in the contemporary age of the global contagion.

scholarly journals The role of gardens in the 19th century asylums for the mentally and neurotically ill. The theory and practice by the example of the Prussian asylums in the former Province of Posen

2018 ◽  
Vol 49 ◽  
pp. 00007
Author(s):  
Daria Bręczewska-Kulesza
Keyword(s):  
19Th Century ◽  
Environmental Conditions ◽  
Mentally Ill ◽  
Theory And Practice ◽  
Mental Illnesses ◽  
Health States ◽  
Urban Configurations ◽  
The Individual ◽  
The 19Th Century

Although mental illnesses have existed ever since the dawn of time, the development of psychiatry is dated to have begun from the end 18th century. At the turn of the 18th and 19th centuries, mentally ill people began to be placed at mental facilities not only to be exercised care of, but also to have their health states improved. The movement of reformation expanded across entire Europe. The Kingdom of Prussia was no exception when it came to establishing asylums. Wanting to create the best environmental conditions for the mentally ill possible, all of the complexes of the asylums were designed so that they served therapeutic purposes. One of the vital elements in this regard was the hospital gardens. The said gardens comprised of partially open, decorative green squares, outlined by the fences of the gardens assigned to the individual wards meant for the mentally ill and the utility gardens, where therapy through labor could be exercised. In conformity with the prototypes described above, in the former Province of Posen four asylums were built. The article analyzes the development of gardens within the urban configurations of select hospitals, comparing them to the leading gardens and theoretical configurations described in the specialist literature.

Józef Muczkowski: Dyrektor Biblioteki Jagiellońskiej, historyk

2021 ◽  
Author(s):  
Barbara Krawczyk
Keyword(s):  
19Th Century ◽  
Scientific Development ◽  
Chronological Order ◽  
Political Field ◽  
Information Gap ◽  
History Of ◽  
Professional Field ◽  
The Individual ◽  
Types Of Information ◽  
The 19Th Century

The purpose of the presented thesis is to show a figure of one of the directors of the Jagiellonian Library in the 19th century, a professor at the Jagiellonian University and historian – Józef Muczkowski. In the thesis, the Professor’s personal life has been presented in chronological order, as well as his achievements in the professional field and his scientific accomplishments. The thesis consists of seven chapters, each dealing with issues related to the individual stages of the Professor’s life. Special attention has been focused on the process of intellectual and scientific development of Józef Muczkowski from his birth, through youth, to the period of holding office of the director of the Jagiellonian Library, and finally up to the last days of his life. Large part of the work is devoted to changes that were implemented by the Professor during the period when he was the Jagiellonian Library director. It concerns, among others, the organisation of library collections and complete reconstruction of the library building which is located within the Collegium Maius edifice. The thesis also introduces a broad spectrum of activities undertaken by the Professor in the political field. Presentation of profiles of his loved ones and relationships that connected him with his family and other people of science constitutes important part of the work because it connects all chapters. The thesis is based largely on unpublished sources, such as manuscripts, numerous fragments of official letters and the Professor’s correspondence. Analysis and interpretation of many types of information sources, followed by their elaboration and organisation, allow to fill the “information gap” regarding the person of Józef Muczkowski. As a result, by recreating Józef Muczkowski’s professional path, the thesis also supplements the information resource of history of the Jagiellonian Library in the first half of the 19th century.

scholarly journals The Reflection of Manifestations of West Culture in Ahmad Fars Al-Shadiaq’s Works

2017 ◽  
Vol 9 (1) ◽  
pp. 219
Author(s):  
Zahra Khosravi Vamkani ◽  
Mahdi Najafi Koomleh
Keyword(s):  
Social Justice ◽  
Ottoman Empire ◽  
19Th Century ◽  
European Countries ◽  
The West ◽  
Literary Movements ◽  
The Individual ◽  
The 19Th Century

The most important reasons of the appearance of new literary movements in the Arabic countries can be the collapse of the Ottoman Empire, the dispatch of students and the people’s emigration to Europe, the establishment of printing, newspaper and magazine industry.In fact, the 19th century is the age of awakening of Arabic countries and their relationships with European countries. Meanwhile, thinkers such as Ahmad Fars Shadiaq have attempted more for opening the west civilization gates and advancement of the goals of this movement. In this era, the civilization gates were more opened to all groups living in the society and the cause of dehiscence of potential talents in Arabic countries was provided and it internalized the backgrounds of development, promotion and civil amendments of these countries.In the present study, the attempts have been made to investigate the shut-in-personality of Ahmad Fars Shadiiaq and the reflection of west culture in his works regarding the individual freedoms, social justice and women.

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