scholarly journals „Wozu die Mühe?“ Über Begleiterlizenzen und ihr Schwinden aus der Auführungspraxis des Kunstlieds. Mit Tonträgeranalysen zu Richard Strauss, „Zueignung“ op. 10 Nr. 1

2020 ◽  
Author(s):  
Kilian Sprau
Keyword(s):  
Comparative Analysis ◽  
19Th Century ◽  
Musical Performance ◽  
Performance Style ◽  
Richard Strauss ◽  
Performance Tradition ◽  
The 19Th Century ◽  
Written Sources ◽  
A Performance

A performance tradition stemming from the 19th century permitted lied accompanists to deviate considerably from the notated score when a flexible reaction to concrete performance situations was necessary. In this article some of these ‘accompanist’s licences’, as well as their decreasing acceptance in 20th century’s performance style, are described according to written sources. A comparative analysis of recordings of the lied “Zueignung” op. 10 No. 8 by Richard Strauss illustrates exemplarily the decline of ‘accompanist’s licences’ during the decades after 1900. Finally, the results are interpreted against the background of general developments in musical performance style.

scholarly journals Agrarian reforms of Russia at the turn of the XIX–XX centuries in the coverage of economists of the XX century

2021 ◽  
pp. 141-144
Author(s):  
I. K. Shcherbakova
Keyword(s):  
Comparative Analysis ◽  
20Th Century ◽  
19Th Century ◽  
Economic Reforms ◽  
Research Paper ◽  
Russian Empire ◽  
Agrarian Reforms ◽  
The Russian Empire ◽  
The 19Th Century ◽  
Different Parts

The article analyses the features of the development of agriculture in Russia at the end of the 19th century - the beginning of the 20th century. The paper studies and considers attempts to solve the agrarian issue in the specified period. The study considers the course and results of the reform of 1861, as well as economic reforms of the beginning of the 20th century. The author gives an assessment of these reforms, as well as the situation of the peasantry made by the leading economists of that time: N.D. Kondrat'ev, S.L. Maslov, A.V. Peshekhonov, A.V. Chayanov, and also analyses the measures aimed at alleviating the situation of the peasantry and solving the agrarian problems of that period. The research paper also presents a comparative analysis of the consequences of the 1861 reform, its impact on the solution of the agrarian issue in different parts of the Russian Empire, in particular in Poland after the Polish Uprising of 1863.

Grímsvötn 1919-2019: The legacy of Erik Ygberg and Hakon Wadell

JOKULL ◽  
2021 ◽  
Vol 70 ◽  
pp. 129-138
Author(s):  
Erik Sturkell ◽  
Magnus Tumi Gudmundsson
Keyword(s):  
19Th Century ◽  
Geological Survey ◽  
Significant Finding ◽  
University Of Chicago ◽  
Doctoral Thesis ◽  
The University ◽  
The 19Th Century ◽  
Written Sources

The first recorded visit to Grímsvötn occurred on the 31st of August 1919. Two Swedish geology students, Hakon Wadell and Erik Ygberg, stood on the edge of a hitherto unknown large caldera. This discovery was the most significant finding in the first west-to-east transect across Vatnajökull, starting at Síðujökull on the 27th of August. This was an expedition into the unknown, but a principal aim was nevertheless to find the source of the large jökulhlaups on Skeiðarársandur. They named the ice-filled caldera “Svíagígur”. Studies of written sources in the 1930s revealed that this place was indeed Grímsvötn, well known in the 17th and 18th centuries but the name and location had been forgotten in the 19th century. From Svíagígur they continued eastwards, descending down the crevassed Heinabergsjökull, reaching civilization in the morning the 6th. They announced the news that a huge volcano existed under Vatnajökull and this was the source of the jökulhlaups emerging from Skeiðarárjökull. Upon their return to Stockholm, they received a hero’s welcome, but soon it all changed into no one believing them, as prominent figures in Sweden at this time insisted that a volcano can’t be active beneath a glacier! After they finished their studies, both left Sweden very disappointed. Hakon Wadell had a successful geological career in America presenting a doctoral thesis in 1932 from the University of Chicago. Erik Ygberg worked as an international prospector a few years before his bad health, a result of the hardships experienced at the end of the Vatnajökull expedition, forced him back to Sweden, where he had a career at the Swedish Geological Survey. The name Svíagígur has not been used but the two nunataks marking the highest points on Grímsfjall are named in the honour of the two Swedes, Svíahúkur eystri and Svíahnúkur vestri.

De la escena a la viñeta:

Neuróptica ◽  
2021 ◽  
pp. 227-240
Author(s):  
Alejandro Silvela Calvo
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Oscar Wilde ◽  
Musical Work ◽  
Visual Medium ◽  
Richard Strauss ◽  
The World ◽  
Siglo Xix ◽  
The 19Th Century ◽  
Siglo Xx

Resumen: P. Craig Russell ha destacado, entre otras aportaciones, por su labor a la hora de realizar una larga serie de adaptaciones del mundo de la ópera a la viñeta. El estilo de Russell se caracteriza por partir de la idea de adaptar una obra musical a un medio plástico y visual haciendo que no solo se convierta en la simple narración de una ópera musical, sino que crea una obra en sí misma en la que intenta recoger diferentes sensaciones estilísticas, estructurales y estéticas de la obra y generar una representación de las mismas. En este artículo nos valdremos de su adaptación de Salomé, ópera de Richard Strauss de 1905 basada en la obra teatral homónima de Oscar Wilde. Se tratará la idea de musicalización del cómic y la forma en la que Russell plasma diferentes ideas musicales referentes no solo a timbres, leitmotiv u orquestación, sino atendiendo a diferentes parámetros que engloba la obra de Strauss, en torno a la idea de maximalización y decadencia del arte de finales del siglo XIX y principios del siglo XX. Abstract: P. Craig Russell has stood out, among other contributions, for his work in making a long series of adaptations from the world of opera to comic. Russell's style is characterized by starting from the idea of adapting a musical work to a plastic and visual medium, making it not only become the simple narration of a musical opera, but also creates a work in itself in which he tries to collect different stylistic, structural and aesthetic sensations of the work and generate a representation of them. In this article we will use his adaptation of Salomé, an opera by Richard Strauss from 1905 based on the play of the same name by Oscar Wilde. The idea of musicalization of the comic will be discussed and the way in which Russell expresses different musical ideas referring not only to timbres, leitmotivs or orchestration, but also taking into account different parameters that encompass Strauss's work around the idea of maximalization and decadence of art from the end of the 19th century and the beginning of the 20th century.  

Taxing stock transfers in the first golden age of financial capitalism: political salience and the limits on the power of finance

2017 ◽  
Vol 17 (3) ◽  
pp. 503-522 ◽  
Author(s):  
Elsa Massoc
Keyword(s):  
New York ◽  
Comparative Analysis ◽  
19Th Century ◽  
The State ◽  
Current Debate ◽  
Privileged Position ◽  
The Us ◽  
Financial Transactions ◽  
The 19Th Century ◽  
Financial Capitalism

Abstract The current debate about taxing financial transactions is often presented as a brand new one. It is not. At the turn of the 19th century, a similar tax was debated in France and the US Financial actors fought the tax mightily. Those actors were very powerful. Yet, they lost. A tax on stock transfers (STT) was established. Why? Through a comparative analysis of France and the State of New York, this article argues that the tax was adopted because politicians interested in capitalizing on public discontent endeavored to publicize and frame the STT in simple and antagonizing terms. Strong but heterogeneous public hostility against finance got focused on the explicitly politicized issue of the tax. Political salience disrupted the logics of ‘quiet politics’ and momentarily undermined the privileged position of finance. Despite intense lobbying and threats to relocate from financiers, elected officials chose to vote for the STT.

scholarly journals Three Sabers with Wooden Hilts of the 17th – Mid 19th Centuries from the National Museum of the Republic of Kazakhstan

2019 ◽  
Vol 18 (3) ◽  
pp. 146-158
Author(s):  
L. A. Bobrov ◽  
Daniyar Ismailov
Keyword(s):  
Structural Analysis ◽  
19Th Century ◽  
Distinctive Feature ◽  
National Museum ◽  
Museum Collection ◽  
Central Asian ◽  
The Republic ◽  
Metal Tip ◽  
The 19Th Century ◽  
Written Sources

Purpose. The article provides a detailed description of three sabers with wooden hilts stored in the funds of the National Museum of the Republic of Kazakhstan (PMO 3025-1.2, PMO 6265, PMO UK 8227), Astana. Results. Based on the structural analysis of the items and their design, we identified that Saber 1 from the NMRC (PMO 3025-1.2) is one of the varieties of Persian Shamshirs. The blade with the shank, garda and a wooden sheath with hoop could have been made by Iranian or, less likely, Central Asian armorers in the 18th – middle of the 19th centuries. The wooden hilt with rivets, leather-covered scabbard and a metal tip were added while the saber was in the museum collection. A distinctive feature of Saber 2 of NMRC (PMO 6265), which originates from the territory of Southern Kazakhstan, is a relatively small bending of an acute-angled blade, an authentic wooden hilt and a leather case covering the hilt. The last two elements are not typical for products of Persian craftsmen but are quite often found on the weapons of the Uzbek and Kazakh soldiers of the New Age. According to the construction and design we conclude that Saber 2 could have been made by Central Asian, or, less likely, Iranian armorers in the 18th – mid 19th centuries (in the latter case, the hilt and the cover might have been made by Uzbek or Kazakh masters). Saber 3 (ПМО УК 8227) combines the classic “shamshirs” blade and a pommel with a wooden hilt and a relatively rare version of the guard. Based on the design features, the saber is dated to the end of the 18th – mid 19th centuries. The fastening system of its “cheeks” indicates that the wooden hilt might have been made and added in the 19th century. Conclusion. The weapons of the series under review vividly illustrate the data from written sources on the prevalence of sabers with long blades imported from Iran and Central Asia among Kazakh soldiers during the 18th – 19th centuries.

scholarly journals BUILDING A COLLECTION BY REV. JAN WIŚNIEWSKI, A GREAT DONOR OF THE DIOCESAN MUSEUM IN SANDOMIERZ

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 132-139
Author(s):  
Urszula Stępień
Keyword(s):  
19Th Century ◽  
Parish Priest ◽  
Art Dealers ◽  
History Of ◽  
The 19Th Century ◽  
Written Sources

The article is an attempt to show collecting achievements of Rev. Jan Wiśniewski (1876–1943), who after building an unusual, astonishingly vast and versatile collection of art and national memorabilia, donated it to the Diocesan Museum in Sandomierz. His collecting was rooted in the 19th century, in the spirit of growing patriotic awareness and interests in the history of one’s own country, resulted from the lack of independence. Apart from collecting, Rev. Wiśniewski conducted comprehensive research. As an amateur historian, he edited and published at his own cost 15 volumes of the Monografia dekanatów and Historyczne opisy kościołów. He started his collection in Radom, then continued accumulating items in Borkowice where he became a parish priest. It was there, in the parsonage, that he arranged the Museum of National Memorabilia. His exhibits were often displayed as loans outside his museum. As confirmed in written sources, Rev. Jan Wiśniewski had many contacts among collectors, antiquarians, art dealers and bibliophiles, some of them of great renown. His collection became a cornerstone of the Diocesan Museum in Sandomierz, which seems to be his intention from the start, as much as saving from demolition the historic elements of churches’ interiors. He was building his collection in order to make it public and pass on to the following generations.

scholarly journals ANTHROPOGENIC LANDSCAPE IN OB-YENISEI WATERWAY IN THE 18–19th CENTURIES

2019 ◽  
Vol 21 (5) ◽  
pp. 53-61 ◽  
Author(s):  
O. G. Litvinova
Keyword(s):  
Comparative Analysis ◽  
19Th Century ◽  
Quantitative Data ◽  
Theoretical Study ◽  
18Th Century ◽  
West Siberia ◽  
Residential Areas ◽  
Settlement System ◽  
Development Stages ◽  
The 19Th Century

The study is carried in the framework of the project “Urban planning retrospective of medium and small settlements of the Ob-Yenisei waterway”, which is aimed at studying the transformation of residential areas of one of the main waterways of Siberia, from Tyumen to Kyakhta. The coastal territory of the Tura, Tobol, Irtysh, Ob, Ket rivers of the Ob basin in West Siberia is studied. The theoretical study identifies and graphically displays medium and small settlements at different development stages of West Siberia. A retrospective of the settlements allows to determine their typhology in the waterway coastal zone in the 18–19th centuries. The quantitative data on each type of settlement are obtained, and the routes of communication are classified. In the 18th century, land directions rarely cross the settlements, most of them locate along the rivers, streams, elders and lakes. In the 19th century, local residential areas (houses, single yards, settlements, villages) along the land routes enlarge and form villages. A comparative analysis shows a high percentage of preserving the location, typhology and planning structure of the small settlements of the modern settlement system. In general, the period of urbanization is described from the late 18th and early 19th centuries.

scholarly journals Piping Sung: Women, Canntaireachd and the Role of the Tradition-Bearer

2013 ◽  
Vol 36 ◽  
pp. 45
Author(s):  
Joshua Dickson
Keyword(s):  
Twentieth Century ◽  
19Th Century ◽  
Performance Practice ◽  
Flexible Tool ◽  
Performance Style ◽  
Field Recordings ◽  
And Performance ◽  
The 19Th Century

Canntaireachd (pronounced ‘counter-achk’), Gaelic for ‘chanting’, is a complex oral notation used by Scottish pipers for centuries to teach repertoire and performance style in the courtly, ceremonial ceòl mór idiom. Its popular historiography since the 19th century suggests it was fixed and highly formulaic in structure and therefore formal (as befitting its connection to ceòl mór), its use the preserve of the studied elite. However, field recordings of pipers and other tradition-bearers collected and archived since the 1950s in the School of Scottish Studies present a vast trove of evidence suggesting that canntaireachd as a living, vocal medium was (and remains) a dynamic and flexible tool, adapted and refined to personal tastes by each musician; and that it was (is) widely used as well in the transmission of the vernacular ceòl beag idiom - pipe music for dancing and marching. In this paper, I offer some remarks on the nature of canntaireachd, followed by a review of the role of women in the transmission and performance of Highland, and specifically Hebridean, bagpipe music, including the use of canntaireachd as a surrogate performance practice. There follows a case study of Mary Morrison, a woman of twentieth century Barra upbringing, who specialised in performing canntaireachd; concluding with a discussion on what her singing of pipe music has to say about her knowledge of piping and the nature of her role as, arguably, a piping tradition-bearer.

scholarly journals Raphael’s Genius as Reflected in V. A. Zhukovsky’s and A. S. Pushkin’s Works: to the Issue of W. H. Wackenroder’s Influence on Russian Literature

2021 ◽  
pp. 121-129
Author(s):  
К.А. Поташова
Keyword(s):  
Comparative Analysis ◽  
19Th Century ◽  
Russian Literature ◽  
Work Of Art ◽  
Moral Atmosphere ◽  
The 19Th Century ◽  
The Impact ◽  
Aesthetic Preferences

Новизна исследования связана с раскрытием уникальности синтеза вербального и визуального начал в художественном мышлении В. А. Жуковского и А. С. Пушкина посредством анализа механизмов встраивания живописного произведения в словесный образ. С опорой на анализ стихотворений «Недоконченная картина» А. С. Пушкина, «Преображение» С. П. Шевырёва, очерка В. А. Жуковского «Рафаэлева Мадонна» в сопоставлении с очерком В.-Г. Вакенродера «Видение Рафаэля» рассмотрено влияние эстетической системы Рафаэля на романтическую концепцию творчества художника, природы его вдохновения, заключающейся в ощущении Божественном присутствии. В статье определяется место эстетического очерка Жуковского «Рафаэлева Мадонна» в контексте развития романтического типа экфрасиса, основанного на замене описания визуального образа ассоциативным рядом, возникшим в процессе созерцания картины. Доказывается, что внимание романтиков к личности Рафаэля Санти обусловлено как общей духовно-нравственной атмосферой первой трети XIX века, так и глубоко личностным восприятием живописи В. А. Жуковским и А. С. Пушкиным. The theoretical novelty of the article consists in the investigation of the unique synthesis of verbal and visual aspects of V. A. Zhukovsky’s and A. S. Pushkin’s works. The comparative analysis of A. S. Pushkin’s “Unfinished Painting”, S. P. Shevyrev’s “Transfiguration”, V. A. Zhukovsky’s “The Sistine Madonna” and W. H. Wackenroder’s “Raphael’s Vision” focuses on the impact Raphael’s aesthetics produced on the romantic concept of a painter’s work, and spiritual inspiration. The article investigates Zhukovsky’s aesthetic essay “The Sistine Madonna” through the prism of ekphrastic works, association-based descriptions of a visual work of art. The article maintains that the romantic poets’ infatuation with Raphael Santi can be explained both by the spiritual and moral atmosphere of the first third of the 19th century and by V. A. Zhukovsky’s and A. S. Pushkin’s personal aesthetic preferences.

Sign in / Sign up

Export Citation Format

Share Document