The Manifestation of Islam in Argentina

1996 ◽  
Vol 53 (1) ◽  
pp. 67-85 ◽  
Author(s):  
Gladys Jozami
Keyword(s):  
Nineteenth Century ◽  
Buenos Aires ◽  
The Public ◽  
Public Displays ◽  
Public Arena ◽  
Ethnoreligious Identity ◽  
Muslim Religiosity ◽  
Religious Aspects

In March 1995, a tragic incident understandably evoked public displays of Muslim religiosity in Buenos Aires. The incident—the death of the head of state's son—provoked the irruption of ritual and religious aspects of Islam, unknown to most Argentines, on the country's radio and television. The demise of president Carlos Menem's first-born brought into the public arena with a vengeance the issue of ethnoreligious identity that had been kept under wraps since the end of the nineteenth century as a matter for the intimacy of family and community.

Nené Cascallar's Thirsty Heart

2015 ◽  
Vol 1 (4) ◽  
pp. 31-45 ◽  
Author(s):  
Christine Ehrick
Keyword(s):  
Sexual Desire ◽  
Golden Age ◽  
Buenos Aires ◽  
Female Voice ◽  
Historical Document ◽  
The Public ◽  
Public Arena ◽  
Female Voices

This article is an analysis of the script of an Argentine radio serial, Corazón sediento (Thirsty Heart), that aired on Buenos Aires' Radio Splendid and its network of stations on weekday evenings in June 1954. The drama's author, Nené Cascallar (1914–82), a favorite radio librettist during the first Peronist era (1946–55), was best known for penning erotically charged melodramas aimed at mostly female audiences. In this drama, Cascallar makes particular use of sound and voice as dramatic devices and as a means to produce dramas that articulate women's desires—sexual desire, desire for freedom from patriarchal control, et cetera—while avoiding direct confrontation with these same structures. The main character's piano serves as a proxy through which she “screams” her unspoken frustrations and desires into the patriarchal soundscape of a fictitious and traditional Italian town. Thirsty Heart exemplifies golden-age radio's capacity to disrupt the gendered soundscape by allowing female voices—in their discursive, metaphorical, and sonic dimensions—to make themselves heard in new ways in the public arena. Among other things, this article asks us to consider the female voice in all its contradictory dimensions as a sonic metaphor for modernity itself. Finally, the script provides an opportunity to discuss how scholars might read this kind of historical document for issues of gender and sound.

Changing Images of Roman Catholic Religious Orders in the Nineteenth Century

1985 ◽  
Vol 22 ◽  
pp. 351-363
Author(s):  
Bernard Aspinwall
Keyword(s):  
Nineteenth Century ◽  
Roman Catholic ◽  
Social Organisation ◽  
Religious Orders ◽  
Dual Purpose ◽  
Right Action ◽  
The Public ◽  
Public Arena ◽  
The Republic

‘“Camelot-Camelot:” said I to myself “I don’t seem to remember hearing of it before. Name of the asylum, likely.”’ so said Mark Twain’s Connecticut Yankee at King Arthur’s Court. But the irony is that the joke is now on Twain. In examining The Discovery of the Asylum, David J. Rothman has persuasively argued that the American asylum which developed in the 1820s and 1830s served a dual purpose. It would create the correct desirable attitudes within its inmates and by virtue of its success, set an example of right action to the larger society. The well-ordered asylum would exemplify the proper principles of social organisation and thus insure the safety of the republic and promote its glory. My purpose is to suggest that the monastery in Europe served a similar purpose. Europeans faced similar social and political problems to Americans and the rediscovery of monasticism paralleled the growth of American institutions and served a similar purpose in the public arena. In the process a more tolerant and sympathetic attitude towards religious orders emerged.

scholarly journals The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

2021 ◽  
Author(s):  
◽  
Jamie Garrick
Keyword(s):  
Nineteenth Century ◽  
Cultural Capital ◽  
Early Nineteenth Century ◽  
Public Spheres ◽  
The Public ◽  
Public Arena ◽  
Late Eighteenth ◽  
The Status ◽  
Eighteenth And Nineteenth Centuries ◽  
Solo Instrument

<p>Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments.</p>

scholarly journals Narratives that travel across space and time: the intertextuality of Eliza Lynch

2016 ◽  
Vol 12 (02) ◽  
Author(s):  
Anelise Reich Corseuil
Keyword(s):  
Nineteenth Century ◽  
Buenos Aires ◽  
The Public ◽  
Space And Time ◽  
Narrative Forms

Resumo: Filmes contemporâneos sobre a viagem problematizam o conceito das fronteiras nacionais, as interrelações entre o público e o privado, e as formas narrativas utilizadas para representar os encontros inter-hemisféricos entre pessoas de diferentes raças e etnias. Os filmes podem ser vistos como leitura crítica de nossas economias globalizadas e seus deslocamentos atuais. Nesse contexto de produções culturais, pode-se situar o filme Eliza Lynch: a Rainha do Paraguay (2013) de Alan Gilsenan. O documentário dramático, que se pode definir como docudrama, sobre a vida de Eliza Alicia Lynch, retrata também as jornadas de Lynch no século XIX: da Irlanda a Paris, à Algéria, ao Paraguay, a Buenos Aires, e novamente a Paris. O presente trabalhoanalisa as formas como o filme Eliza Lynch: Rainha do Paraguay problematiza as diversas leituras realizadas sobre a vida de Eliza Lynch em suas relações com a nação Paraguaia e com Solano López. Palavras-chave: Eliza Lynch; Documentário; Guerra do Paraguai. Abstract: Contemporary films about travelling problematize the concept of the national frontiers, the interrelations between the private and the public, as well as the narrative forms used in the films themselves to convey hemispheric encounters among various peoples, as a form of critique of our own globalized economies and forms of dislocation. Eliza Lynch: Queen of Paraguay (2013) directed by Alan Gilsenan, can be included within this context. Gilsenan’s film, which can be defined as a docudrama about Eliza Alicia Lynch´s life, is also a movie about the journeys Lynch had to endure in the nineteenth century: from Ireland to Paris, to Algeria, to Paraguay, to Buenos Aires, and back to Paris again. This paper analyzes how Gilsenan´s film problematizes the various readings of Eliza Lynch´s life and travels and her relation with the Paraguayan nation and Solano López. Keywords: Eliza Lynch; Documentary; War of Paraguay

Böhmische Skizzen: Reflections on Social Space and Nationhood in Nineteenth-Century Prague

2002 ◽  
Vol 30 (3) ◽  
pp. 335-350 ◽  
Author(s):  
Alena Šimůnková
Keyword(s):  
Nineteenth Century ◽  
Social Space ◽  
German Language ◽  
The Public ◽  
Critical Response ◽  
Public Arena ◽  
Governmental Surveillance ◽  
The Press ◽  
National Leaders ◽  
Harsh Criticism

Shortly before the Christmas of 1860, the major bookstores in Prague put on display a German-language booklet entitledBohemian Sketches: By a Native Writer.Although the book was published anonymously, its author soon became well known: he was Jan Palacký, the son of the prominent historian and leading Czech politician Frantis̆ek Palacký. But even his famous name did not spare the young man from stormy, harsh criticism that followed after the publication of the book. For weeks the newspapers both in Prague and in Vienna scrutinized the rhetorical nuances of the book, pointing out the author's national and political biases. Surprisingly, neither of the Czech-language newspapers,Národní listynorC̆as, that had recently entered into the public arena, stepped forward in defense of the author. The critical response in the press raises one's curiosity: what was wrong with Jan Palacký's arguments? How could someone so closely connected with Czech national leaders write such a controversial account? Moreover, considering the censorship practices and vigilant police supervision of the time, it is also worth asking how the publication could have escaped the attention of governmental surveillance.

scholarly journals The Intimate Virtuoso: The Guitar, the Rhetoric of Transformation, and Issues of Spectacle in Music by Fernando Sor, Johann K. Mertz, and Giulio Regondi

2021 ◽  
Author(s):  
◽  
Jamie Garrick
Keyword(s):  
Nineteenth Century ◽  
Cultural Capital ◽  
Early Nineteenth Century ◽  
Public Spheres ◽  
The Public ◽  
Public Arena ◽  
Late Eighteenth ◽  
The Status ◽  
Eighteenth And Nineteenth Centuries ◽  
Solo Instrument

<p>Studies of virtuosity in the eighteenth and nineteenth centuries have tended to focus on the piano and the violin. These instruments were obviously virtuosic and lent themselves to visual and aural displays of power, most notably in the case of Liszt and Paganini. These virtuosi crafted spectacles that were often described with metaphors of power and violence. These spectacles came to characterise the virtuosity of the early nineteenth century. However, the guitar has been largely neglected in scholarship dealing with virtuosity from the late eighteenth and early nineteenth centuries. This is due, in large part, to the status of the guitar within that period. Though popular as an accompanying instrument and in the home, the guitar struggled to find a secure position as a legitimate solo instrument in the public arena. While guitarists such as Dionisio Aguado and Mauro Giuliani were described as ‘virtuosi’, their instrument, unlike the piano and the violin, did not give itself to a spectacle that conveyed notions of power and violence. Rather, the guitar is an intimate instrument, quieter than the piano or the violin, and utilising small movements in the hands. These aspects of the instrument, so often perceived as ‘limitations’ led many writers to dismiss it as an inappropriate instrument for performance in the public spheres occupied by the piano and the violin. Guitarist-composers sought to play to the guitar’s strengths in ways that contrasted with the conventional metaphors of power and violence. Some of these attempts rhetorically aligned the guitar with genres and instruments that carried greater cultural capital. Composers used orchestral metaphors and emphasised the guitar’s ability to imitate other instruments. Other guitarist-composers sought to create a greater spectacle both in and beyond the music itself by emphasising physical movements within the music and writing extra-musical gestures into the music. The rhetoric of transformation was used either by or about the guitarist-composers Fernando Sor, Dionisio Aguado, Johann Kaspar Mertz, and Giulio Regondi, all of whom this exegesis focuses on, demonstrating a desire to legitimise the guitar at a time when it struggled not only to find traction as a ‘serious’ classical instrument, but also a place amongst more obviously virtuosic instruments.</p>

Wives on “Deposit”: Internment and the Preservation of Husbands' Honor in Late Nineteenth-Century Buenos Aires

1992 ◽  
Vol 17 (3) ◽  
pp. 253-270 ◽  
Author(s):  
Kristin Ruggiero
Keyword(s):  
Nineteenth Century ◽  
Buenos Aires ◽  
Late Nineteenth Century ◽  
Formal Institutions ◽  
The Public ◽  
Important Link ◽  
Public Nature ◽  
Late Nineteenth ◽  
A Chain ◽  
Male Authority

In nineteenth-century Buenos Aires, “institutions of deposit” were often used instead of jails to house women who were in trouble with their husbands and the authorities, and therefore had to be interred while awaiting trial or for other reasons. The public nature of these institutions was seen as crucial for the shaming of women and for the development in them of a sense of repentance and reform. They can thus be interpreted as an important link in a chain of formal institutions and informal pressures that enforced male authority.

Psychology and the "public arena."

1982 ◽  
Vol 37 (12) ◽  
pp. 1403-1404
Author(s):  
Richard Reardon
Keyword(s):  
The Public ◽  
Public Arena

Biblical Literacy and the English King James Liberal Bible

2014 ◽  
Vol 7 (2) ◽  
pp. 197-211
Author(s):  
James Crossley
Keyword(s):  
Cultural Heritage ◽  
Test Case ◽  
Biblical Literacy ◽  
The Public ◽  
Public Arena ◽  
The Bible ◽  
Liberal Capitalism ◽  
The Rich ◽  
Popular Nationalism ◽  
King James Bible

Using the 400th anniversary of the King James Bible as a test case, this article illustrates some of the important ways in which the Bible is understood and consumed and how it has continued to survive in an age of neoliberalism and postmodernity. It is clear that instant recognition of the Bible-as-artefact, multiple repackaging and pithy biblical phrases, combined with a popular nationalism, provide distinctive strands of this understanding and survival. It is also clear that the KJV is seen as a key part of a proud English cultural heritage and tied in with traditions of democracy and tolerance, despite having next to nothing to do with either. Anything potentially problematic for Western liberal discourse (e.g. calling outsiders “dogs,” smashing babies heads against rocks, Hades-fire for the rich, killing heretics, using the Bible to convert and colonize, etc.) is effectively removed, or even encouraged to be removed, from such discussions of the KJV and the Bible in the public arena. In other words, this is a decaffeinated Bible that has been colonized by, and has adapted to, Western liberal capitalism.

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