scholarly journals «Huguenots» by J. Meyerbeer in the context of spiritual-Christian quests of the era of romanticism

2021 ◽  
pp. 292-298
Author(s):  
Shang Yun
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Musical Theater ◽  
Spiritual Quest ◽  
French Opera ◽  
Romantic Era ◽  
The One ◽  
The 19Th Century ◽  
French Grand Opera ◽  
Grand Opera

The purpose of the article is to identify the poetical and intonational features of J. Meyerbeer’s «Huguenots» in the context of the spiritual quest of romanticism, the evolution of French musical theater in the first half of the 19th century and its mystery component. The methodology of the work is the intonation concept of music from the perspective of intonation-stylistic analysis inherited from B. Asafiev and his followers. The analytical-musicological, genre-style, interdisciplinary, historical and cultural approaches are also essential for this work, revealing the spiritual and moral specifics of the poetics of the French «grand opera» and its mystery primary sources using the example of J. Meyerbeer's «Huguenots». The scientific novelty of the work is determined by its analytical perspective, focused on the consideration of the «Huguenots» by J. Meyerbeer in the context of the spiritual-Christian quests of the romantic era. Conclusions. The poetics of J. Meyerbeer’s opera «Huguenots», which is one of the exemplary examples of «grand» French opera, was formed at the intersection, on the one hand, of creative discoveries in the field of French musical theater of the first half of the 19th century and its vocal and performing stage practice. On the other hand, the named work demonstrates a deep connection with the mysterious traditions of the French spiritual theater, dating back to the Middle Ages, to the spiritual, religious and stylistic attitudes of the musical theater of French classicism («lyric tragedy» by J. B. Lully) and at the same time consonant with the religious quests of romanticism and the moral and ethical positions of French historicism. The essential role of religious confrontation in the Huguenots, which determinesthe intonational and dramatic specificity of the work, right down to the quotations of the Lutheran chant, ultimately focuses on the «collegiality of the highest order», which overcomes confessional barriers, defining the spiritual and moral pathos of the French «grand opera» and its spiritual attitudes.

scholarly journals Olov Khamnigans in the 19th Century: Ethnic Composition and Allocation

2020 ◽  
Vol 31 ◽  
pp. 17-30
Author(s):  
B. Z. Nanzatov ◽  
◽  
M. M. Sodnompilova ◽  
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Close Contact ◽  
Ethnic Composition ◽  
Central Mongolia ◽  
North Asia ◽  
The Face ◽  
The One ◽  
The 19Th Century ◽  
Vast Area

This article continues the series of the works devoted to the study of the ethnic composition of the Buryat and Khamnigan departments of the 19th century. One of the self-government bodies of indigenous of the Transbaikal in the 19th century was the Urulginskaya Steppe Duma, the main population of which was the Tungus of the Manchu tribe, as they were characterized by the Russian administration. One of the boards of this Duma was the Olovskaya indigenous Council. The department is of particular interest in terms of the ethnic composition of its population and its origin. The ethnic composition of the Urulga Steppe Duma revealed the extensive contacts of the Upper Amur – Shilka population with the vast area of the Transbaikal-Amur subregion, including the territories of Inner Asia, North Asia and Amur region. Different groups of horse and deer Tungus, on the one hand, and various groups of the Mongolian population, including the Khingan Mongols, Daurians and Buryats, on the other hand, took part in its formation. Also more ancient contacts of the Tungus with the Yukagirs were found. The composition of the Urulga Steppe Duma initially included five indigenous authorities. One of them was the Olovskaya indigenous Authority (Uprava). The Khitan, and subsequently Daurian population, which came into close contact with both the Tungus-Manchu tribes and the Bargy-Buryat groups of the population, created a special layer of the population – Khamnigan people. However, in Russian documents the entire population of the Urulga Steppe Duma, a part of which also was the Olovskaya indigenous Authority (Uprava) recorded as Tungus. The ethnic composition of the Olov Khamnigans shows that the population of the upper Amur – Shilka, has incorporated various ethnic elements not only from the Middle Ages, but also from antiquity. The article suggested the authors’ vision of origin of ethnonyms of the population of authority and their development. A number of ethnonyms such as Duligar, Bayagir, Kylteger discovers the presence of the Tungusic and Mongolic strata in the face of Khamnigan-Mongols, Daurs, Buryats. The Mongolic stratum is also represented by the bearers of the ethnonym Üzön, which has analogies in eastern and central Mongolia, among the Selenga Buryats and among the Kipchak tribe, which is part of the Kazakhs of Middle Juz. A detailed map of the settlement of the Olov Khamnigans was compiled, based on the census tables.

Presence in Absence

2011 ◽  
Vol 56 (2) ◽  
pp. 79-100
Author(s):  
Rachel Esner
Keyword(s):  
19Th Century ◽  
Social Structures ◽  
Artistic Creativity ◽  
Oder Eine ◽  
Exhibition Space ◽  
Working Space ◽  
Romantic Era ◽  
Sozialer Raum ◽  
The 19Th Century ◽  
Artistic Self

Seit der Epoche der Romantik bringen viele der Diskurse, die künstlerische Kreativität betreffen, den Künstler und seinen Arbeitsraum zusammen: Die Werkstatt wird als ein Spiegel des Künstlers und seines Werks angesehen, als ein Heiligtum, ein sozialer Raum oder eine Ausstellungsfläche. Ein populärer bildlicher Topos der Zeit war die Darstellung des leeren Ateliers. Der vorliegende Beitrag versteht das Bild des leeren Ateliers im 19. Jahrhundert als ein Selbstporträt des Künstlers. Er untersucht, wie die Darstellung des Raums und seiner Objekte dem Gemälde die Präsenz des Künstlers einschreiben und sein bzw. ihr künstlerisches  Selbstverständnis innerhalb der sich verändernden künstlerischen und sozialen Strukturen der Epoche wiedergeben.<br><br>From the Romantic era onward, many of the discourses surrounding artistic creativity have merged the artist and his working space: the place of work is viewed as the mirror of the man and his oeuvre, a sanctuary, a social or an exhibition space. A popular topos in this context was the view of the empty studio. This paper explores the 19th-century empty studio image as a self-portrait of the artist. It examines how the depictions of the space and its objects work to inscribe the artist’s presence, and to express his or her  artistic self-conception and identity within the changing artistic-social structures of the period.

On the nature of chemistry

2018 ◽  
Vol 10 (2) ◽  
pp. 74 ◽  
Author(s):  
Eric R. Scerri
Keyword(s):  
19Th Century ◽  
The Other ◽  
Recent History ◽  
History Of Chemistry ◽  
History Of ◽  
The One ◽  
Fundamental Unity ◽  
The 19Th Century

<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>

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
Keyword(s):  
19Th Century ◽  
The Other ◽  
Hans Christian Andersen ◽  
The Aesthetic ◽  
The One ◽  
The 19Th Century ◽  
The Relationship

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.

Surnames in south-eastern France: structure of the rural population during the 19th century through isonymy

2021 ◽  
pp. 1-16
Author(s):  
Célia Kamel ◽  
Bérengère Saliba-Serre ◽  
Marie-Hélène Lizee ◽  
Michel Signoli ◽  
Caroline Costedoat
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Mantel Test ◽  
Data Set ◽  
Population Evolution ◽  
Socioeconomic Changes ◽  
Geographical Unit ◽  
Geographical Distances ◽  
Birth Records ◽  
The 19Th Century

Abstract An analysis of the distribution of surnames through time and space allows us to understand the structure of human groups, their exchanges or even their possible isolation. The French population has already been studied through surnames and it has been shown that the Sud-Provence-Alpes-Côte d’Azur region differed from the rest of France in both the 20th and 21st centuries (Mourrieras et al., 1995; Scapoli et al., 2005). The objective of this study was to understand the population evolution and particularities of the Sud-Provence-Alpes-Côte d’Azur region through an analysis of the distribution of surnames over an earlier period: the 19th century. For this work, 806,069 birth records from 521 communes between 1810 and 1890 were recorded and a total of 23,340 surnames were collected. The estimation of various isonymic parameters has allowed a description of this corpus never exploited before. In order to appreciate the population evolution, the data set was divided into three periods of 25 years. The canton was the geographical unit of this study, and similarities and differences between each of them were evaluated using Lasker distances, which allow the construction of dendrograms. A positive and significant correlation (p<0.0001) was found between Lasker distances and geographical distances using the Mantel test. The lowest inbreeding estimates were found in the Durance Valley. Migration, estimated from the v-index of Karlin and McGregor (1967), showed higher values in the south-western quarter of the region. The decrease in Rst values across the three periods is consistent with a homogenization of the patronymic between the cantons. This three-period approach showed a population evolution influenced by linguistic, cultural, historical and migratory phenomena since the Middle Ages, disrupted by the socioeconomic changes of the 19th century.

Brazilian Colonial Art and the Decolonization of Art History

2021 ◽  
Author(s):  
Maria Berbara
Keyword(s):  
19Th Century ◽  
Art History ◽  
18Th Century ◽  
Early Modern Period ◽  
Minas Gerais ◽  
Early 19Th Century ◽  
Art Objects ◽  
Colonial Art ◽  
The One ◽  
The 19Th Century

There are at least two ways to think about the term “Brazilian colonial art.” It can refer, in general, to the art produced in the region presently known as Brazil between 1500, when navigator Pedro Álvares Cabral claimed the coastal territory for the Lusitanian crown, and the country’s independence in the early 19th century. It can also refer, more specifically, to the artistic manifestations produced in certain Brazilian regions—most notably Bahia, Minas Gerais, and Rio de Janeiro—over the 18th century and first decades of the 19th century. In other words, while denotatively it corresponds to the art produced in the period during which Brazil was a colony, it can also work as a metonym valid to indicate particular temporal and geographical arcs within this period. The reasons for its widespread metonymical use are related, on the one hand, to the survival of a relatively large number of art objects and buildings produced in these arcs, but also to a judicative value: at least since the 1920s, artists, historians, and cultivated Brazilians have tended to regard Brazilian colonial art—in its more specific meaning—as the greatest cultural product of those centuries. In this sense, Brazilian colonial art is often identified with the Baroque—to the extent that the terms “Brazilian Baroque,” “Brazilian colonial art,” and even “barroco mineiro” (i.e., Baroque produced in the province of Minas Gerais) may be used interchangeably by some scholars and, even more so, the general public. The study of Brazilian colonial art is currently intermingled with the question of what should be understood as Brazil in the early modern period. Just like some 20th- and 21st-century scholars have been questioning, for example, the term “Italian Renaissance”—given the fact that Italy, as a political entity, did not exist until the 19th century—so have researchers problematized the concept of a unified term to designate the whole artistic production of the territory that would later become the Federative Republic of Brazil between the 16th and 19th centuries. This territory, moreover, encompassed a myriad of very different societies and languages originating from at least three different continents. Should the production, for example, of Tupi or Yoruba artworks be considered colonial? Or should they, instead, be understood as belonging to a distinctive path and independent art historical process? Is it viable to propose a transcultural academic approach without, at the same time, flattening the specificities and richness of the various societies that inhabited the territory? Recent scholarly work has been bringing together traditional historiographical references in Brazilian colonial art and perspectives from so-called “global art history.” These efforts have not only internationalized the field, but also made it multidisciplinary by combining researches in anthropology, ethnography, archaeology, history, and art history.

The Horn of the Unicorn

Antiquity ◽  
1953 ◽  
Vol 27 (105) ◽  
pp. 15-19 ◽  
Author(s):  
Humphrey Humphreys
Keyword(s):  
19Th Century ◽  
Middle Ages ◽  
Old Testament ◽  
The 19Th Century ◽  
Do So ◽  
The Middle Ages

Though everyone now agrees that the unicorn never existed, this unanimity is quite recent. All through the 19th century there were periodic reports of its presence in darkest Africa or on the Asiatic steppes, and hopes that it would turn out to be a reality died hard. But if there never was such a creature why did the men of the Middle Ages believe in it so firmly and depict it so often? As Christians it was incumbent on them to do so, for it was mentioned in the Old Testament and, therefore, must be real. Its presence there was due to the authors of the Septuagint, the Hellenised Jews who, at Alexandria, in the centuries between the city's foundation and the Christian era, translated their sacred books from Hebrew into Greek and on seven occasions used the word μονόκερως (Greek for unicorn).

scholarly journals Kant, Nietzsche and the idealization of friendship into nihilism

2013 ◽  
Vol 54 (128) ◽  
pp. 401-417
Author(s):  
Paul van Tongeren
Keyword(s):  
19Th Century ◽  
Literary Imagination ◽  
The Other ◽  
Other Hand ◽  
History Of ◽  
The One ◽  
Articles Of Faith ◽  
The 19Th Century

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.

Between Myth and Reality: Approaches to Ibn Khaldun in the Arab World

2008 ◽  
Vol 36 (3-4) ◽  
pp. 590-611 ◽  
Author(s):  
Cengiz Tomar
Keyword(s):  
19Th Century ◽  
Arab World ◽  
Ibn Khaldun ◽  
Arab Culture ◽  
The One ◽  
The 19Th Century

AbstractIbn Khaldun is one of most discussed social philosophers in the modern Arab World. The most important reasons for this are that he lived in a time of crisis that resembles the one that Muslims find themselves in at the present time, that his thoughts have found approval from Western scientists, and that they possess modern characteristics. It is for these reasons that the thought of Ibn Khaldun, from the 19th century onwards, have given rise to a wide variety of interpretations, including pan-Islamism, nationalism, socialism and other ideologies that have found interest in the Arab world. In this article, after examining the heritage of thought bequeathed by Ibn Khaldun to Arab culture, starting from the time in which he lived, we will try to evaluate interpretations of the Muqaddimah in the modern Arab world.

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