scholarly journals Of Other Places: The Garden as a Heterotopic Site in Contemporary Art

2008 ◽  
Vol 10 (1) ◽  
pp. 60-71
Author(s):  
Melanie Dana Nakaue
Keyword(s):  
Nineteenth Century ◽  
Contemporary Art ◽  
Michel Foucault ◽  
Community Gardens ◽  
Northern Europe ◽  
Early Nineteenth Century ◽  
Found Objects ◽  
Time Space ◽  
Definition Of ◽  
A Site

According to Michel Foucault, a heterotopia is a site where the differentiation between a location and its temporality is related to theoretical and societal concerns that challenge the notion of history, location, and subjectivity. Contemporary artists such as Stan Douglas and Hew Locke utilize the garden as heterotopic space for intervention in their work in order to investigate and challenge linear notions of time, space and subjectivity. Stan Douglas examines the historical and social underpinnings of the community gardens in early nineteenth century Northern Europe, otherwise known as the potsdamer schrebergärten, and recreates the tableau of the garden in his piece, Der Sandman. Similarly, artist Hew Locke draws upon the art of the topiary and creates an assemblage topiary sculpture, titled Black Queen, where found objects are utilized to recontextualize the concept of the garden topiary as a site of a postcolonial experience. This article investigates the way that nature, in this case the garden, is utilized and represented in contemporary art. By analyzing and applying Foucault’s lecture, “Of Other Spaces” and definition of heterotopias to the work of artists such as Douglas and Locke, the paper aims to illuminate the connection between site and subjectivity, and the multiplicity of meaning that results from the garden as being the quintessential site of postmodern experience.

DELIGHTFUL COXCOMBS TO INDUSTRIOUS MEN: FASHIONABLE POLITICS IN CECIL AND PENDENNIS

2002 ◽  
Vol 30 (1) ◽  
pp. 289-304 ◽  
Author(s):  
Claire Nicolay
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Middle Class ◽  
Upward Mobility ◽  
Late Nineteenth Century ◽  
Class A ◽  
Late Nineteenth ◽  
Definition Of ◽  
A Site ◽  
Trade Office

THOMAS CARLYLE’S CONTEMPTUOUS DESCRIPTION of the dandy as “a Clothes-wearing Man, a Man whose trade, office, and existence consists in the wearing of Clothes” (313) has survived as the best-known definition of dandyism, which is generally equated with the foppery of eighteenth-century beaux and late nineteenth-century aesthetes. Actually, however, George Brummell (1778–1840), the primary architect of dandyism, developed not only a style of dress, but also a mode of behavior and style of wit that opposed ostentation. Brummell insisted that he was completely self-made, and his audacious self-transformation served as an example for both parvenus and dissatisfied nobles: the bourgeois might achieve upward mobility by distinguishing himself from his peers, and the noble could bolster his faltering status while retaining illusions of exclusivity. Aristocrats like Byron, Bulwer, and Wellington might effortlessly cultivate themselves and indulge their taste for luxury, while at the same time ambitious social climbers like Brummell, Disraeli, and Dickens might employ the codes of dandyism in order to establish places for themselves in the urban world. Thus, dandyism served as a nexus for the declining aristocratic elite and the rising middle class, a site where each was transformed by the dialectic interplay of aristocratic and individualistic ideals.

Colonization’s New Epistemology

2017 ◽  
Author(s):  
Douglas Hunter
Keyword(s):  
Nineteenth Century ◽  
Native Americans ◽  
Indigenous People ◽  
Northern Europe ◽  
Andrew Jackson ◽  
Early Nineteenth Century ◽  
American Archaeology ◽  
Scientific American

This chapter describes the rise of scientific American archaeology in the early nineteenth century and its role in the justification of westward colonization and displacement of Indigenous people. Theorists construct two competing migrations: the transatlantic Gothicist one out of Northern Europe that is colonizing America, and the pre-Contact one of Tartars that arrived in America to displace the superior Mound Builders. American colonization is defended as a just displacing of Native Americans, who had previously displaced the Mound Builders. President Andrew Jackson relies on this scenario in 1830 in arguing for his forced removal policy that will cause the deaths of thousands of Cherokee and other tribes on the Trail of Tears in 1838

WOMEN, MARGINALITY AND THE ZULU STATE: WOMEN'S INSTITUTIONS AND POWER IN THE EARLY NINETEENTH CENTURY

1998 ◽  
Vol 39 (3) ◽  
pp. 389-415 ◽  
Author(s):  
SEAN HANRETTA
Keyword(s):  
South Africa ◽  
Nineteenth Century ◽  
State Government ◽  
Gender Relations ◽  
Historical Change ◽  
Political Organization ◽  
Internal Conflict ◽  
Early Nineteenth Century ◽  
The Past ◽  
Definition Of

For a number of years the historiography of Southern Africa has been dominated by a materialist framework that has focused upon modes of production and forms of socio-political organization as the determining factors in historical change. Those historians concerned with the history of women in pre-colonial societies – even those who have privileged gender relations in their analyses – have largely been content to construct women's history by applying the insights of socio-economic and political analyses of the past to gender dynamics, and by projecting the insights of anthropological analyses of present gender relations into the past. Some of these historians have concluded that until the arrival of capitalism no substantial changes in the situations, power or status of women took place within Zulu society, even during the period of systemic transformation known as the mfecane in the early nineteenth century.More recently, Zulu gender history has become part of a larger debate connected to the changing political and academic milieu in South Africa. Representatives of a revived Africanist tradition have criticized materialist historians for writing Zulu history from an outsider's perspective and of focusing overly on conflict and power imbalances within the nineteenth-century kingdom in an effort to discredit contemporary Zulu nationalism. To counter this, historian Simon Maphalala has stressed the harmony of nineteenth-century Zulu society, the power advisors exercised in state government, and the lack of internal conflict. Maphalala also claims that women's subordinate role in society ‘did not cause any dissatisfaction among them’, and argues that ‘[women] accepted their position and were contented’. In recent constitutional debates many South African intellectuals including members of the Congress of Traditional Leaders of South Africa (CONTRALESA), invoked this ‘benign patriarchy’ model of pre-colonial gender relations to oppose the adoption of gender-equality provisions in the new constitution. As Cherryl Walker has noted, the hegemonic definition of traditional gender relations to which such figures have made rhetorical appeals often masks not only the historicity of these relations but also hides dissenting opinions (often demarcated along gender lines) as to what those relations are and have been.

scholarly journals The Role of Statistics and Statisticians in the Future of Astrostatistics

2014 ◽  
Vol 10 (S306) ◽  
pp. 400-406
Author(s):  
Joseph M. Hilbe
Keyword(s):  
Nineteenth Century ◽  
Statistical Analysis ◽  
Future Generations ◽  
Short Term ◽  
Early Nineteenth Century ◽  
Working Groups ◽  
Formal Relationship ◽  
To Come ◽  
Definition Of

AbstractGiven the generic definition of statistics, it is clear that astronomers have engaged in statistical analysis of some variety since astronomy first emerged as a science. However, from the early nineteenth century until the beginning of the twenty-first the two disciplines have been somewhat estranged – there was no formal relationship between the two. This has now changed, as is evidenced by the recent creation of the International Astrostatistics Association (IAA), the ISI astrostatistics committee, astrostatistics working groups authorized by the IAU and AAS, and this Symposium. The challenge for us to come is in establishing how statisticians and astronomers relate in developing the discipline of astrostatistics. I shall propose a direction for how the discipline can progress in both the short term and well as for future generations of astrostatisticians.

The Structure of French Romantic Histories of Religions

Numen ◽  
1998 ◽  
Vol 45 (3) ◽  
pp. 258-286
Author(s):  
Arthur McCalla
Keyword(s):  
Nineteenth Century ◽  
A Priori ◽  
Philosophy Of History ◽  
Structural Elements ◽  
Religious Thought ◽  
Early Nineteenth Century ◽  
Christian Doctrine ◽  
History Of ◽  
The Common ◽  
Definition Of

AbstractThis article analyzes the histories of religions of Louis de Bonald, Antoine Fabre d'Olivet, Pierre-Simon Ballanche, and Ferdinand d'Eckstein. Rather than offer yet another definition of Romanticism, it seeks to establish a framework by which to render intelligible a set of early nineteenth-century French histories of religions that have been largely ignored in the history of the study of religion. It establishes their mutual affinity by demonstrating that they are built on the common structural elements of an essentialist ontology, an epistemology that eludes Kantian pessimism, and a philosophy of history that depicts development as the unfolding of a preexistent essence according to an a priori pattern. Consequent upon these structural elements we may identify five characteristics of French Romantic histories of religions: organic developmentalism; reductionism; hermeneutic of harmonies; apologetic intent; and reconceptualization of Christian doctrine. Romantic histories of religions, as syntheses of traditional faith and historical-mindedness, are at once a chapter in the history of the study of religion and in the history of religious thought.

The M Yarn: Price and Social Imagination in Early Industrial Britain

2014 ◽  
Vol 15 (03) ◽  
pp. 417-441
Author(s):  
Paul Anthony Custer
Keyword(s):  
Nineteenth Century ◽  
Price Competition ◽  
Close Reading ◽  
Early Nineteenth Century ◽  
Social Imagination ◽  
Definition Of ◽  
The Relationship ◽  
Small Thing

This essay explores market talk in early nineteenth-century Britain through a close reading of the correspondence of the cotton-spinning firm McConnel & Kennedy of Manchester between 1798 and 1813. I argue that two distinct “narratives” of price and value emerge from these letters, and that the cleave between them pointed both to a deep anxiety about the market, and to a clear and clever bargaining strategy. McConnel & Kennedy clung stubbornly to a definition of “value” that they understood to be fictive, in order to avoid frank surrender to what they saw as cannibalistic price-competition. Rhetoric was, then, no small thing to them. They conceived supply and value as being inversely related, and this idea, I argue, was implicit also in wider contemporary anxieties about the relationship between proliferation and meaning.

Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism

2017 ◽  
Vol 41 (2) ◽  
pp. 95-120
Author(s):  
Amanda Lalonde
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Instrumental Music ◽  
Critical Discourse ◽  
Music Criticism ◽  
Early Nineteenth Century ◽  
Ninth Symphony ◽  
The Uncanny ◽  
Definition Of

The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for theorizing a version of this aesthetic category that is active in the nineteenth-century critical discourse about music. In the early nineteenth century, music becomes uncanny because it discloses what should remain hidden from finite revelation. Critics understand passages of instrumental ombra music as uncanny moments when music calls attention to itself as the sensuous manifestation of the Absolute. They remark on these passages’ effacing of boundaries and sense of becoming, residues of eighteenth-century uses of the topic in operatic supernatural scenes and as part of a chaos-to-order narrative in symphonic music. The article concludes with the reception of the opening of Beethoven's Ninth Symphony and the finale of Schubert's Octet, D. 803, using critics’ comments as a basis for extrapolating, through new analyses, as to the features that might make the particular works remarkable as examples of music's uncanny power made manifest.

Person-Centeredness

2018 ◽  
Author(s):  
J. Donald Boudreau ◽  
Eric J. Cassell ◽  
Abraham Fuks
Keyword(s):  
Nineteenth Century ◽  
Medical Education ◽  
Medical Practice ◽  
Patient Centeredness ◽  
Early Nineteenth Century ◽  
Clinicopathologic Correlation ◽  
Sharp Focus ◽  
Definition Of

The historical roots of the term patient-centeredness are presented. The point is made that, although the term possesses considerable rhetorical power, in reality many institutions that wave the banner of patient-centeredness remain resolutely disease focused. This has been the case since the early nineteenth century, when clinicopathologic correlation became an imperative of medical practice. That the doctor’s primary mandate is to ferret out disease remains a tenacious precept in contemporary medical practice as well as in medical education. This chapter argues that a medicine anchored in a new and bold definition of sickness, one with a laser-sharp focus on a person’s functioning, necessarily opens many avenues for a practice centered on the person.

Bellini’s Il pirata as Virtual Tourism in Late Georgian London

2021 ◽  
Vol 45 (2) ◽  
pp. 119-146
Author(s):  
Stephen Armstrong
Keyword(s):  
Nineteenth Century ◽  
Early Nineteenth Century ◽  
Mass Tourism ◽  
Virtual Tourism ◽  
The Sublime ◽  
Tourist Experience ◽  
Byronic Hero ◽  
A Site

This article considers the 1830 London premiere of Bellini’s Il pirata as virtual tourism. Musicologists, singers, and critics have long acknowledged opera’s power to transport listeners into other worlds, but there has been no sustained critique of opera as a mediation of tourist experience. Here I confront opera’s impulse to virtual tourism through a reading of Bellini’s Il pirata, its opening shipwreck, and its Byronic source history. I also examine the opera’s staging within the context of other technology-driven entertainments of the early nineteenth century, such as panoramas and aquadramas. Like other contemporary spectacles, operas were judged by how well they transported audiences elsewhere. William Grieve’s extravagant stage designs dazzled audiences, especially the opening shipwreck of Gualtiero, the opera’s Byronic hero. This simulated shipwreck connected several British obsessions, including the ocean as a symbol of the sublime, the rise of the shipwreck as a site for disaster tourism, and the hero’s status as a suffering traveler—all areas of Romantic culture that entangled intensity and immersion, literal and aesthetic transports, and tourist and theatrical modes of consciousness. British critics treated Bellini’s Il pirata not as literature, but as a mediation of tourist experience, and in so doing, they activated a range of contemporary anxieties about the traveler’s aesthetic authority against the rising tides of mass tourism and popular taste.

Race, place and bodily difference in early nineteenth-century India*

2004 ◽  
Vol 77 (196) ◽  
pp. 254-273 ◽  
Author(s):  
David Arnold
Keyword(s):  
Nineteenth Century ◽  
The Body ◽  
Edward Said ◽  
Early Nineteenth Century ◽  
Half Century ◽  
Imperial Power ◽  
Bodily Difference ◽  
A Site ◽  
Crucial Part ◽  
The Way

Abstract Changing ideas of race, place and bodily difference played a crucial part in the way in which the British in India thought about themselves, and more especially about Indians, in the half-century leading up to the Mutiny and Rebellion of 1857. But in seeking to make this case, this article aims to do more than merely illustrate the importance of ‘the body’ to the ideology and practice of nineteenth-century colonialism in one of its principal domains. Without, I hope, invoking too crass and simplistic a binary divide, it seeks to restate an argument about colonialism as a site of profound (and physically-grounded) difference. Binary divisions and dichotomous ideas may have passed out of favour of late among historians, with a growing barrage of attacks on Edward Said and Orientalism.1 But even if Orientalism provides an unreliable guide to the complex heterogeneity of imperial history, there is an equal danger that, in reacting so strongly against ideas of ‘otherness’, historians may too readily overlook or unduly diminish the ways in which ideas of difference were mobilized, in ideology and in practice, in the service of an imperial power.

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