Contraste, Dissonanzen, Missklänge: Zum Verhältnis von Idylle und Tourismus in literarischen Schweiz-Reisen des 19. Jahrhunderts (Ida Hahn-Hahn, Hans Christian Andersen)

2021 ◽  
Vol 50 (1) ◽  
pp. 34-56
Author(s):  
Christian Schmitt

Abstract The discrepancy between common temporary expectations of Switzerland as idyll on the one hand, and the reality of its industrially organized tourism on the other, imposes irritations upon the touristic gaze. This article, then, traces the origins of this discrepancy and examines the relationship between Swiss idyll and tourism in the 19th century. The analyses of Ida Hahn-Hahn’s Eine Idylle and Hans Christian Andersen’s Iisjomfruen showcase different ways of relating idyll and tourism to one another as well as the aesthetic merit produced by this constellation.

2019 ◽  
pp. 175-196
Author(s):  
Volker Kalisch

Relevance of the study. Discussion, classification and evaluation of the new in music are still firmly anchored in a centrally work-oriented, historically reflected approach to music. The new «material» qualities brought to bear in the work and are appreciated, on the one hand, and the applied compositional techniques are acknowledged in their distinctiveness and novelty, on the other hand. In fact, such a view stems mainly from the 19th century, and an aesthetic orientation aimed at «autonomy». Although it has repeatedly been questioned, although it has often proved to be unsuitable for dealing with music not oriented to work, it has been maintained and maintained as a “material aesthetic” until the recent past. Main objective of the study. The discussion of the material-aesthetic orientation here, once from a producer (composer), then music-philosophical (Т. Adorno) and recipient (listener) perspective, attempts to point out an alternative by placing the question of «meaning» at the center of attention. The scientific novelty and main findings It not only implements the relationship between means and purpose, but also reverts the intentions of speech realized in music to its own right, but also shifts the compositional use of funds under the «progress aspect» to the level of statement-understandable appropriateness. The research methodology. The essay proceeds with music-historical, aesthetic, sociological and discourse-analytic arguments in the core of a still ongoing musicological discourse, taking into account therefor relevant literature.


2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri

<span>The very nature of chemistry presents us with a tension. A tension between the exhilaration of diversity of substances and forms on the one hand and the safety of fundamental unity on the other. Even just the recent history of chemistry has been al1 about this tension, from the debates about Prout's hypothesis as to whether there is a primary matter in the 19th century to the more recent speculations as to whether computers will enable us to virtually dispense with experimental chemistry.</span>


2013 ◽  
Vol 54 (128) ◽  
pp. 401-417
Author(s):  
Paul van Tongeren

Is friendship still possible under nihilistic conditions? Kant and Nietzsche are important stages in the history of the idealization of friendship, which leads inevitably to the problem of nihilism. Nietzsche himself claims on the one hand that only something like friendship can save us in our nihilistic condition, but on the other hand that precisely friendship has been unmasked and become impossible by these very conditions. It seems we are struck in the nihilistic paradox of not being allowed to believe in the possibility of what we cannot do without. Literary imagination since the 19th century seems to make us even more skeptical. Maybe Beckett provides an illustration of a way out that fits well to Nietzsche's claim that only "the most moderate, those who do not require any extreme articles of faith" will be able to cope with nihilism.


2017 ◽  
Vol 13 (1) ◽  
pp. 9-24
Author(s):  
Akmal Hawi

The 19th century to the 20th century is a moment in which Muslims enter a new gate, the gate of renewal. This phase is often referred to as the century of modernism, a century where people are confronted with the fact that the West is far ahead of them. This situation made various responses emerging, various Islamic groups responded in different ways based on their Islamic nature. Some respond with accommodative stance and recognize that the people are indeed doomed and must follow the West in order to rise from the downturn. Others respond by rejecting anything coming from the West because they think it is outside of Islam. These circles believe Islam is the best and the people must return to the foundations of revelation, this circle is often called the revivalists. One of the figures who is an important figure in Islamic reform, Jamaluddin Al-Afghani, a reformer who has its own uniqueness, uniqueness, and mystery. Departing from the division of Islamic features above, Afghani occupies a unique position in responding to Western domination of Islam. On the one hand, Afghani is very moderate by accommodating ideas coming from the West, this is done to improve the decline of the ummah. On the other hand, however, Afghani appeared so loudly when it came to the question of nationality or on matters relating to Islam. As a result, Afghani traces his legs on two different sides, he is a modernist but also a fundamentalist. 


2021 ◽  
pp. 142-163
Author(s):  
ARKADII MAN'KOVSKII

The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.


LingVaria ◽  
2021 ◽  
Vol 31 (1) ◽  
pp. 11-24
Author(s):  
Marek Kaszewski

Descriptions of Interjections in Selected Polish Dictionaries from 19th Century The author of the text analyses interjections present in three Polish dictionaries from the 19th century: the dictionaries by S.B. Linde, J.S. Bandtkie and A. Osiński, which are a part of a larger linguistic collection created in order to study and describe historical Polish interjections. The article takes into account the internal diversity of the historical class of interjections in the light of the lexicographers’ attempts to describe such units. Our attention is drawn to the lack of graphical normalization of interjections in the dictionaries, as well as the inconsistency of their marking and definition on the one hand, and the wide range of functional variants on the other. Differences in the manner of presentation of interjections in these dictionaries are also taken into account. Moreover, the author emphasizes the fact that they include a large number of animal-related (hunting) interjections. The study of the dictionary materials confirmed that their authors did not work out a method of a lexicographical description of these linguistic units.


2021 ◽  
pp. 188-203
Author(s):  
Elena A. Tacho-Godi ◽  
◽  
◽  

The paper considers the methodological principles of Yu.I. Aykhenvald’s literary criticism. Attention is drawn to the relationship between Aykhenvald’s declared “immanent method” and “principled impressionism” and his own “philosophy of life”. It is proved that Aykhenvald’s version of “impressionism” is much closer to the theory of symbolism than it seemed to contemporaries and researchers. The analysis takes into account both the aesthetic “sympathies” (Apollon Grigoryev, Vladimir Solovyov, Oscar Wilde, Remy de Gourmont, Émile Faguet) and “antipathies” (Vissarion Belinsky, Vasily Rozanov), that influenced Aykhenvald’s interpretation of the heritage of literary critics, philosophers, and writers of the 19th century — Pushkin, Tolstoy, Chekhov.


1971 ◽  
Vol 1 (03) ◽  
pp. 369-388
Author(s):  
H. Alimen

Between the two wars, studies on the Quaternary were scarcely in favor in France. However. from the beginning of the 19th century recent terrains had held the attention of our country’s eminent geologists, and later that of the prehistorians, and starting in the 1850s these terrains were given the first chronological classifications based, on the one hand, on the evolution of Mammals. and on the other hand, on the succession of prehistoric civilizations.


1980 ◽  
Vol 12 (2) ◽  
pp. 122-131 ◽  
Author(s):  
David Spring

This brief account of Tocqueville's ideas on aristocratic society and government in England is intended to serve as a sort of introduction to the longer papers that follow in this symposium. For some years the subject of English aristocratic power in the 19th century—especially in connection with the First and Second Reform Acts—has been much discussed. The discussion has dwelt on such questions as whether the aristocracy grew or declined in power, whether the Reform Acts made for a growth or loss of power, whether aristocratic leadership knew precisely what it was doing, and so on. So far this discussion has been carried on, so to speak, exclusively from the inside: that is, in terms of contemporary English events and ideas. In Tocqueville, who was both an Anglophile and an informed and penetrating observer of England from the 1830s until his death in 1859, we have a distinguished outsider. His ideas are always interesting for their own sake. For this symposium they have the added merit of touching on some of its central themes. On occasion, his ideas may strike the reader as exaggerated, ambiguous, even inconsistent, certainly without system. But they are usually suggestive, and merit the historian's serious attention.Tocqueville's first impression of the English aristocracy was one of great power—a power rooted in its monopoly of landowner ship. As he saw it, the contrast between the French landowning aristocracy and the English was that between an aristocracy, on the one hand, that was land poor, and an aristocracy, on the other hand, that was richly endowed in land. Tocqueville also saw that if landed property did not always lead to economic power—since agriculture did not pay that well—it had a special quality, as compared to other forms of wealth, which was bound to lead to political power.


Author(s):  
Mochamad Fauzie

Romanticism became a new cultural orientation in Europe in the 19th century. Through the exploration of tradition and history, romanticism gradually aroused nationalism, giving rise to a paradoxical situation: on the one hand, it fueled colonial expansion, on the other hand, aroused the spirit of resistance of colonized society. Raden Saleh was in Europe in this situation and became famous as a Romantic painter. This research departs from the assumption that Romanticism encouraged Raden Saleh to develop resistance to colonialism in painting. This study aims to prove the existence of signs of resistance to Colonialism in Raden Saleh's painting, entitled "Between Life and Death" (1848). This goal was achieved by analyzing the painting with CW Morris Semiotics, with the approach of Psychoanalysis Theory and Postcolonial Theory. Research shows that there are signs of resistance to Colonialism in the painting.


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