Matthew McKenzie, Clearing the Coastline. The Nineteenth-Century Ecological and Cultural Transformation of Cape Cod

2011 ◽  
Vol 3 (6) ◽  
pp. 184-185
Author(s):  
Poul Holm
Author(s):  
Daniel M. Grimley

Images of landscape lie at the heart of nineteenth-century musical thought. From frozen winter fields, mountain echoes, distant horn calls, and the sound of the wind moving among the pines, landscape was a vivid representational practice, a creative resource, and a privileged site for immersion, gothic horror, and the Romantic sublime. As Raymond Williams observed, however, the nineteenth century also witnessed an unforeseen transformation of artistic responses to landscape, which paralleled the social and cultural transformation of the country and the city under processes of intense industrialization and economic development. This chapter attends to several musical landscapes, from the Beethovenian “Pastoral” to Delius’s colonial-era evocation of an exoticized American idyll, as a means of mapping nineteenth-century music’s obsession with the idea of landscape and place. Distance recurs repeatedly as a form of subjective presence and through paradoxical connections with proximity and intimacy.


2021 ◽  
Author(s):  
Melis Hafez

Neither laziness nor its condemnation are new inventions, however, perceiving laziness as a social condition that afflicts a 'nation' is. In the early modern era, Ottoman political treatises did not regard the people as the source of the state's problems. Yet in the nineteenth century, as the imperial ideology of Ottomanism and modern discourses of citizenship spread, so did the understanding of laziness as a social disease that the 'Ottoman nation' needed to eradicate. Asking what we can learn about Ottoman history over the long nineteenth-century by looking closely into the contested and shifting boundaries of the laziness - productivity binary, Melis Hafez explores how 'laziness' can be used to understand emerging civic culture and its exclusionary practices in the Ottoman Empire. A polyphonic involvement of moralists, intellectuals, polemicists, novelists, bureaucrats, and, to an extent, the public reveals the complexities and ambiguities of this multifaceted cultural transformation. Using a wide variety of sources, this book explores the sustained anxiety about productivity that generated numerous reforms as well as new understandings of morality, subjectivity, citizenship, and nationhood among the Ottomans.


Curatopia ◽  
2019 ◽  
pp. 176-190
Author(s):  
Ivan Gaskell

This chapter examines the place of Oceanic clubs in New England collections. During the nineteenth century, they occupied an equivocal position in the New England mental repertory as indices of savage sophistication, and as souvenirs of colonial childhood or travel. Focusing on a Tongan ‘akau tau in the collection of the Chatham Historical Society on Cape Cod, Massachusetts, this chapter traces what can be known of its history as a highly regarded prestige gift item among New Englanders from the middle of the nineteenth century until its entry into the museum. As a thing that an early owner could alienate legitimately, its presence in Chatham is not unethical, yet it nonetheless imposes stewardship responsibilities—consultation with the originating community—that such a small institution is poorly placed to meet. This requires understanding and patience rather than disapprobation.


2018 ◽  
Vol 35 (3) ◽  
pp. 431-451
Author(s):  
Colin Heber-Percy

Abstract In 2011 I wrote the television drama The Preston Passion for the BBC. The aim was to retell the story of Christ’s Passion in a series of provoking and unexpected ways. Pilate becomes a town mayor during a mill workers’ strike in nineteenth century England; Mary becomes a mother awaiting news of her son during World War I; Jesus is a young carer in contemporary Preston, a city in the north of England. Drawing on the experience of writing the drama, I aim to show how drama and mission are related enterprises, having a complex and nuanced relationship with one another and with the prevailing culture. These putative relationships find expression in shared prophetic modalities: truth-telling, challenge, and love. The article explores how these modalities are expressed in television drama and mission. I conclude by suggesting that both drama and mission also share a goal: personal and cultural transformation through bearing witness to the truth understood in a particular way.


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